Post-disco

Source: Wikipedia, the free encyclopedia.
Post-disco
Stylistic origins
Cultural originsLate 1970s — early 1980s
Derivative forms
Subgenres
Other topics

Post-disco is a term to describe an aftermath in popular music history circa 1979–1986, imprecisely beginning with the backlash against

Euro disco, and was succeeded by an underground club music called hi-NRG
, which was its direct continuation.

An underground movement of disco music, which was simultaneously "stripped-down" and featured "radically different sounds,"

cross-over chart success all through the early-to-mid 1980s. Most creative control was in the hands of record producers and club DJs[2] which was a trend that outlived the dance-pop
era.

The term post-disco is often conflated with individual styles of its era, such as

synth-funk, or electro-funk.[10] Other musical styles that emerged in the post-disco era include dance-pop[11][12] and Italo disco, and the genre led to the development of the early alternative dance,[2] club-centered house[11][13][14][15] and techno music.[14][16][17][18][19]

Characteristics

Synthesizers played a crucial part in the development of post-disco.

Drum machines, synthesizers, sequencers were either partly or entirely dominant in a composition or mixed up with various acoustic instruments, depending on the artist and on the year. Electronic instruments became more and more prevalent for each year during the period and dominated the genre completely by the mid 1980s.

Darryl Payne argued about the minimal approach of post-disco, saying:

Producers are using a lot more sounds and a lot less instruments: the "Forget Me Nots" and "Don't Make Me Wait" tracks are really empty, but there's a sophistication people can get into.[20]

The main force in post-disco was mainly the 12" single format and short-lived collaborations (many of them one-hit wonders) while indie record producers were instrumental in the musical direction of what the scene was headed to. The music that mostly catered to dance and urban audiences later managed to influence more popular and mainstream acts like Madonna, New Order or Pet Shop Boys.[1]

Musical elements

The music tended to be technology-centric, keyboard-laden, melodic, with funk-oriented bass lines (often performed on a Minimoog), synth riffs, dub music aesthetics, and background jazzy or blues-y piano layers.[1][2][21][22][23] For strings and brass sections, synthesizer sounds were preferred to the lush orchestration heard on many disco tracks, although such arrangements would later resurface in some house music.[citation needed] Soulful female vocals, however, remained an essence of post-disco.

Term usage

Bridging the so-called death of disco and the birth of house, all this early-to-mid-'80s music lacks a name beyond drably functional and neutral terms like "dance" or "club music."

— Simon Reynolds, SPIN magazine[24]

The term "post-disco" was used as early as 1984 by

New York Magazine used the word in an article appearing in the December 1985 issue; it was Gregory Hines's introduction of post-disco and electronic funk to Russian-American dance choreographer Mikhail Baryshnikov "who has never heard this kind of music."[26] AllMusic states that the term denotes a music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music.[2]

In other historical instances the term had been used in a derisive manner. Spy implicitly mocked the usage of both the terms "post-punk" and "post-disco" in their Spy's Rock Critic-o-Matic article, whereas spoofing various music reviews published by Rolling Stone, The Village Voice and Spin.[27] Cuban-American writer Elías Miguel Muñoz in his 1989 novel Crazy Love, in a passage where musicians after moving to America discuss what their "style" may be, used the term in a satirical manner.[28]

History

Background events

Disco music backlash had started around 1977.

United States

Midwesterners didn't want that intimidating [disco] style shoved down their throats[29]

— Steve Dahl

Shortly after the "

Disco Sucks" movement of disco bashing throughout the United States, American radio stations began to pay attention to other popular formats of music such as reggae, punk rock or new wave while top mainstream labels and record companies like Casablanca, TK Records or RSO went bankrupt. Since disco music had been on the way of [its] electronic progression, it split itself into subscenes and styles like Hi-NRG, freestyle, Italo disco and boogie.[30][1][29] The last one is closely associated with post-disco more than any other offshoots of post-disco.[31][32]

Brazilian record producer and fusion jazz pioneer

Off The Wall, produced by Quincy Jones, which helped establish a direction of R&B/dance music and influenced many young producers who were interested in this kind of new music.[35]

Other examples of early American artists drawing from post-disco are Rick James, Change and Teena Marie.[20]

Europe

new romantic movements around 1981,[36] and continued to flourish within the Italo disco
scene although the interest for electronic music in general was indeed growing.

United Kingdom

Unlike in the United States, where anti-disco backlash generated prominent effect on general perception of disco music, in Britain, the new wave movement initially drew heavily from disco music (although this association would be airbrushed out by the end of 1979) and took many elements from American post-disco and other genres, thus creating a characteristic scene.[20] According to Billboard, American post-disco was merely a crossover of different genres, while focusing on the electronic and R&B overtones, whereas jazz-funk was a crucial element of the British post-disco scene that generated musicians like Chaz Jankel, Central Line or Imagination.

1980s: Golden age

This section summary shows 80s commercially successful records from the post-disco movement.

Compare "

Shame" (1978) with "Love Come Down" (1982) by Evelyn "Champagne" King; "(Shake, Shake, Shake) Shake Your Booty" (1976) with "Give It Up" (1982) by KC & the Sunshine Band; and "Machine Gun" (1974) with "Lady (You Bring Me Up)" by Commodores (1981).[37]


Hits of the golden age of post-disco
Year Song Label Artist
U.S. Dance[38]
 U.S. R&B[38] U.S. Pop[38]
U.S. M.R.[38]
U.K. Pop
1979 "I Wanna Be Your Lover"[39] Warner Bros. Prince #2 #1 #11 ― #41
"And the Beat Goes On"[40][41] SOLAR Records The Whispers #1 #1 #19 ― #2
1980 "Celebration"[42] De-Lite Kool & the Gang #1 #1 #1 ('81) ― #7
"He's So Shy"[43] Planet The Pointer Sisters #26 #10 #3 ― ―
1981 "Let's Groove"[44] Columbia Earth, Wind & Fire #3 #1 #3 ― #3
"Get Down on It"[45] De-Lite Kool & the Gang ― #4 #10 ― #3
"Pull Up to the Bumper"[46] Island Records Grace Jones #2 #5 ― ― #12
1982 "Everybody"[47] Sire, Warner Bros. Madonna #3 ― #107 ― ―
"Forget Me Nots"[48] Elektra Records Patrice Rushen #2 #4 #23 ― #8
"
Last Night a DJ Saved My Life"[49]
 Sound of New York Indeep #2 #10 #101 ― #13
"Love Come Down"[50][51] RCA
Evelyn King
 #1 #1 #17 ― #7
"Do I Do"[52] Tamla Stevie Wonder #1 #2 #13 ― #10
1983 "Holiday"[47] Sire, Warner Bros. Madonna #1 #25 #16 ― #2
"
Give It Up"[53]
 Meca
KC
 ― ― #18 ― #1
"Billie Jean"[54] Epic Michael Jackson #1 #1 #1 ― #1
1984 "
Caribbean Queen"[55]
 Jive Billy Ocean #1 #1 #1 ― #6
"Let's Dance"[54] EMI David Bowie #1 #14 #1 #6 #1
"Cool It Now"[56] MCA New Edition ― #1 #4 ― #43
"Dr. Beat"[57] Epic Miami Sound Machine #17 ― ― ― #6
"I'm So Excited"[58] Planet The Pointer Sisters #28 #46 #9 ― #11
1985 "Into the Groove"[59] Sire, Warner Bros. Madonna #1 #19 ― ― #1
"Chain Reaction"[60] RCA Records Diana Ross #7 #85 #66 ― #1
"Object of My Desire" Elektra Starpoint #12 #8 #25 ― #96
1986 "Rumors"[56] Jay Timex Social Club #1 #1 #8 ― #13
"
Ain't Nothin' Goin' on But the Rent"[61]
 Polydor Records Gwen Guthrie #1 #1 #42 ― #5
1987 "Rhythm Is Gonna Get You"[57] Epic Miami Sound Machine #27 ― #5 ― #16

2000s: Post-disco revival

During the late 1990s and throughout the 2000s, electronic and, especially, house musicians were influenced by post-disco. Some of these musicians are:

Dâm-Funk recorded Toeachizown, a boogie- and electro-influenced album released in 2009.[65]
Another band called
New York Times in November 2011.[66]
Sampling disco and post-disco songs became a distinctive feature of R&B music at the turn of the century. Artists such as Mariah Carey and Janet Jackson incorporated strong post-disco elements in their work, with post-disco-influenced songs such as Heartbreaker, Honey, Fantasy and All For You peaking at #1 on the Billboard Hot 100.

Contemporary compilation albums featuring post-disco and electro artists (e.g. Imagination, Level 42, Afrika Bambaataa) include The Perfect Beats series (volume 1–4).[67] Another compilation series are Nighttime Lovers (volume 1-10) and the mixed-up album titled The Boogie Back: Post Disco Club Jams.

Pioneers and followers

"Thanks To You" and "Don't Make Me Wait" came out and started the whole dub thing in disco.[68]

— Shep Pettibone

Particular psychedelic soul artists like

The Peech Boys. Musically, there was a search for out-of-mainstream music to derive new ideas from, most commonly blues, and other styles like reggae
and so on, were also incorporated.

The Peech Boys' "Don't Make Me Wait"—all these songs and its attributes and trends of post-disco later influenced a new "never-before-heard" music style which would become house music.[71][72]

The new post-disco sound was flourishing among predominately New York City record companies, including West End Records, Prelude Records, Tommy Boy Records, SAM Records, and others.[72][73] Most of them were independently owned and had their own distribution[74] but some particular mainstream labels, notably RCA Records,[33] were too, responsible for popularizing and capitalizing on the new sound.

Timeline

Although there is no exact point when post-disco started, many synthpop and electronic musicians of that time continued to enhance the raw minimalist sound, while focusing on synthesizers, and keyboard instruments. As noted by Payne, drum machines also played an important part in the

urban-oriented music in general.[20]

# Event[72][75][76][77][78][6][79][80][81]
1977–
1979

While disco music was in its heyday, the horn and string sections were a main component of disco and pop songs. This sound is also called disco orchestration. However, some of the musicians and producers dropped the lavish sound of orchestra completely, which attributed a new direction of dance music.

  • Few international examples, including French music project Black Devil Disco Club, French musician Cerrone and Belgian group Telex.
  • Parliament-Funkadelic in the United States. They are known for heavily use of bass and "regular" synthesizers and inventing the
    P-Funk
    style.
1980–
1981

After the success of

The SOS Band, Inner Life, Earth, Wind & Fire, and Shalamar in the U.S.; Nick Straker Band, and Freeez in UK). Other musicians influenced by post-disco include Stacy Lattisaw, Kurtis Blow, and George Duke
.

1982

Golden age post-disco era, where post-disco sound entered mainstream. However most of the musicians were mostly successful on the other charts, beside Billboard Hot 100.

This era also spanned experimental No Wave-oriented post-disco acts like Material, Liquid Liquid, Dinosaur L and Was (Not Was).

The most significant post-disco album is

Thriller, which also became the best-selling album of all time.[82] Larry Levan and the NYC Peech Boys recorded proto-house number "Don't Make Me Wait". New bands and musicians of the era appeared, including Imagination, D. Train, Skyy, Aurra, Komiko, Vicky D, Rockers Revenge, Dayton, and Unlimited Touch
.

1983–
1984

During this era, post-disco was at its highest peak. Meanwhile,

debut album was released, which was produced by Reggie Lucas of Mtume and Jellybean
, another producers of this movement.

It also began to interfere with garage house and freestyle music, thus successfully shaping post-disco into electro. This change could be also heard in breakdancing- and hip-hop -themed movies like Beat Street and Breakin'.

1985–
1987

During this era, post-disco had been dissolved in various music fields and scenes, including

As the post-disco reached its climax, overdubbing techniques as recorded by Peech Boys and other early-1980s artists were almost omitted by then and replaced by synthpop variants instead. The movement survived as a post-disco–freestyle crossover music that spanned Raww, Hanson & Davis, Timex Social Club, Starpoint and Miami Sound Machine.

Legacy

Michael Jackson 1988
Madonna 1990
Michael Jackson and Madonna are the most successful artists of post-disco.

The 1980s post-disco sounds also inspired many

rappers such as Ice Cube or EPMD built their careers on funk-oriented post-disco music (they were inspired for example by dance-floor favorites like Zapp and Cameo).[84] Also Sean "Puffy" Combs has been influenced by R&B-oriented post-disco music in an indirect way.[85]

Related genres

Boogie

Main article: Boogie (genre)

Boogie (or electro-funk)[72][86] is a post-disco subgenre with funk and new wave influences that had a minor exposure in the early to mid-1980s. Sean P. described it as "largely been ignored, or regarded as disco's poor cousin – too slow, too electronic, too R&B ... too black, even."[87]

Dance-rock

Main article: Dance-rock

Another post-disco movement is merely connected with

Dinosaur L, and the Disco Not Disco (2000) compilation album.[90][91] 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."[92] Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as umbrella term used by various DJs in the 1980s.[93]

Dance-pop

Main article: Dance-pop

Dance-pop is a dance-oriented pop music that appeared slightly after the demise of disco and the first appearance of "stripped-down" post-disco. One of the first dance-pop songs were "

eponymous album that incorporated post-disco, urban and club sounds. British variation of dance-pop, pioneered by Stock Aitken Waterman, was more influenced by house and hi-NRG and sometimes was labeled as "eurobeat."[96]

Italo disco

Main article: Italo disco

Italo disco is a disco subgenre, influenced by post-disco, hi-NRG, electronic rock, and European music. Originally music mostly played by

Italian musicians, but it soon made its way to Canada and United States. One of the earliest post–disco-oriented groups were Klein + M.B.O. and Kano, while New York-based Bobby Orlando was located abroad.[2]

Prominent record labels

Compilations

Released Album Label Info
2000 VA – Disco Not Disco Strut compilation
2002 VA – Disco Not Disco 2 Strut compilation
2002–2008 VA – Opération Funk Vol. 1–5
(mixed by
Kheops
)		 mix album, compilation
2004 VA – Choice: A Collection of Classics
(mixed by Danny Tenaglia)		 Azuli mix album, compilation
2004–2009 VA – Nighttime Lovers Vol. 1–10 PTG compilation
2008 VA – Disco Not Disco 3 Strut compilation
2009 VA – Night Dubbin'
(mixed by Dimitri from Paris)		 BBE mix album, compilation
2009 VA – The Boogie Back: Post Disco Club Jams
(compiled by DJ Spinna)		 BBE mix album, compilation
2010 VA – Boogie's Gonna Getcha: '80s New York Boogie BreakBeats compilation

See also

Notes

  1. ^ Various terms to describe the sound of what seemed to be post-disco were introduced, such as, but not limited to, "dance", "club music", "R&B", and "disco". The last, however, become an unfashionable term, hence the increasing use of "dance"[4][5] vis-à-vis the word "disco".

References

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    . By now 'dance' was a loaded word for me. The Disco Sucks backlash had given me a post-traumatic-stress–like disorder, and I'd vowed not to write any songs with that word in them for a long time. I was shamed out of using a word—'dance'.
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  28. ^

    * Julian: "Now we're going American. What's the name they've given this new thing we're doing?

    • Joe: "Post-punk-post-new-wave-post-disco ..."
    • Roli: "post-country -post-rapping - post-post- post-Beatles."
    • Lucho: "Post-Elvis-post-Simon-and-Garfunkel-post-Billy-Idol-post-British-Invasion-post-Cyndi-Lauper-post-Blues-post-Soul-post-Michael-Jackson-post-Hustle-post-Donna-Summer-post-Gloria-Gaynor-post-Prince-post-Madonna."
      — "Crazy Love" (Elías Miguel Muñoz, 1989)
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  79. ^ 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.
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    . [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.
  81. ^ Heyliger, M., Music - Help - Web - Review Archived 2008-12-04 at the Wayback Machine - A State-of-the-Art Pop Album (Thriller by Michael Jackson): "Not many artists could pull off such a variety of styles (funk, post-disco, rock, easy listening, ballads) back then ...". Retrieved on August 12, 2009
  82. MTV Network
    . Retrieved December 29, 2009.
  83. ISBN 1-74104-579-7
    .
  84. 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
  85. ISBN 1-4039-6210-3
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  86. ^ "DJ Spinna: The Boogie Back: Post Disco Club Jams (by Andrew Martin)". Popmatters. Retrieved 2011-12-18.
  87. ^ "VA - Destination: Boogie (2006) review". AMG. Retrieved 2011-08-10.
  88. ^ "[the] classic post-disco track "No GDM" by Gina X". The Fader. University of Michigan: 38. 2002.
  89. ISBN 0-520-24550-4
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  90. ^ "Disco Not Disco [2000]". AllMusic. Retrieved 2009-08-10.
  91. Pitchfork Media
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  92. ISBN 978-0-495-50530-3
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  93. ^ "Explore music ... Genre: Dance-Rock". Allmusic. Retrieved 2009-08-12.
  94. ^ "champagne"-king/chart-history/ Evelyn Champagne King - Chart History at Billboard. Nielsen Co. Retrieved 2012-09-01.
  95. ^ ""Sugar Free" review by Ed Hogan". Allmusic. Retrieved 2011-08-31.
  96. ^ Classic Tracks: Rick Astley ‘Never Gonna Give You Up’ – Sound On Sound. Retrieved on 2 July 2010.
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