Disco N Fusion - Lets Dance (Original Mix)

Disco N Fusion - Lets Dance (Original Mix)

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An underground movement of disco music, which was simultaneously "stripped-down" and featured "radically different sounds,"[2] took place on the East Coast that "was neither disco and neither R&B."[3] This scene, known as post-disco,[nb 1] catering to New York metropolitan area, was initially led by urban contemporary artists partially in response to the over-commercialization and artistic downfall of disco culture. Developed from the rhythm and blues sound as perfected by Parliament-Funkadelic,[6] the electronic side of disco, dub music techniques, and other genres. Post-disco was typified by New York City music groups like "D" Train[3] and Unlimited Touch[3] who followed a more urban approach while others, like Material[7] and ESG,[8] a more experimental one. Post-disco was, like disco, a singles-driven market[2] controlled mostly by independent record companies that generated a 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 being conflated and refer to individual styles of its era, such as boogie,[2][9] 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 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]

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]

The term "post-disco" was used as early as 1984 by Cadence magazine when defining post-disco soul as "disco without the loud bass-drum thump."[25] 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]

During the late 1990s and throughout the 2000s, electronic and, especially, house musicians were influenced by post-disco. Some of these musicians are: Daft Punk, a French house music group, adopted elements of post-disco, disco and synth-pop into Discovery.[61] Another artist, Les Rythmes Digitales, released a post-disco/electro-influenced album, Darkdancer.[62] Canadian music group Chromeo debuted in 2004 with the album She's in Control.[63] Similar Los Angeles-based musician Dâm-Funk recorded Toeachizown, a boogie- and electro-influenced album released in 2009.[64]Another band called Escort, who hails from New York City, surfaced on the post-disco and post-punk revival scenes around 2006. The story about Escort appeared on New York Times in November 2011.[65]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.

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.

The 1980s post-disco sounds also inspired many Norwegian dance music producers.[83] Some 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]

Another post-disco movement is merely 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."[88] and artists like Liquid Liquid, Polyrock,[89] 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 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 "Last Night a D.J. Saved My Life" by Indeep and "Love Come Down" by Evelyn "Champagne" King, whereas the latter crossed over to Billboard charts including Adult Contemporary, while peaking at number 17 on the pop chart in 1982.[94] Another crossover post-disco song was "Juicy Fruit" by Mtume, peaking at number 45 on the Hot 100 in 1983.[95] Same year also saw the release of Madonna's 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]

Disco started as a mixture of music from venues popular with LGBTQ Americans, Italian Americans, Hispanic and Latino Americans, and black Americans[5] in Philadelphia and New York City during the late 1960s and early 1970s. Disco can be seen as a reaction by the 1960s counterculture to both the dominance of rock music and the stigmatization of dance music at the time. Several dance styles were developed during the period of disco's popularity in the United States, including "the Bump" and "the Hustle".

In the course of the 1970s, disco music was developed further, mainly by artists from the United States and Europe. Well-known artists included the Bee Gees, Donna Summer, Gloria Gaynor, Giorgio Moroder, Baccara, Boney M., Earth Wind & Fire, Chaka Khan, Chic, KC and the Sunshine Band, Thelma Houston, Sister Sledge, Sylvester, The Trammps, and the Village People.[6][7] While performers garnered public attention, record producers working behind the scenes played an important role in developing the genre. By the late 1970s, most major U.S. cities had thriving disco club scenes, and DJs would mix dance records at clubs such as Studio 54 in Manhattan, a venue popular among celebrities. Nightclub-goers often wore expensive, extravagant outfits, consisting predominantly of loose, flowing pants or dresses for ease of movement while dancing. There was also a thriving drug subculture in the disco scene, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine and quaaludes, the latter being so common in disco subculture that they were nicknamed "disco biscuits". Disco clubs were also associated with promiscuity as a reflection of the sexual revolution of this era in popular history. Films such as Saturday Night Fever (1977) and Thank God It's Friday (1978) contributed to disco's mainstream popularity.

Disco declined as a major trend in popular music in the United States following the infamous Disco Demolition Night, and it continued to sharply decline in popularity in the U.S. during the early 1980s; however, it remained popular in Italy and some European countries throughout the 1980s, and during this time also started becoming trendy in places elsewhere including India[8] and the Middle East,[9] where aspects of disco were blended with regional folk styles such as ghazals and belly dancing. Disco would eventually become a key influence in the development of electronic dance music, house music, hip hop, new wave, dance-punk, and post-disco. The style has had several revivals since the 1990s, and the influence of disco remains strong across American and European pop music. A revival has been underway since the early 2010s, coming to great popularity in the early 2020s. Albums that have contributed to this revival include Confessions On A Dance Floor, Random Access Memories, The Slow Rush, Cuz I Love You, Future Nostalgia, Hey U X, Melodrama, What's Your Pleasure?, About Last Night..., Róisín Machine, and Kylie Minogue's album itself titled Disco.[10][11][12][13]

Songs often use syncopation, which is the accenting of unexpected beats. In general, the difference between disco, or any dance song, and a rock or popular song is that in dance music the bass drum hits four to the floor, at least once a beat (which in 4/4 time is 4 beats per measure).[citation needed] Disco is further characterized by a 16th note division of the quarter notes as shown in the second drum pattern below, after a typical rock drum pattern.

Early records were the "standard" three-minute version until Tom Moulton came up with a way to make songs longer so that he could take a crowd of dancers at a club to another level and keep them dancing longer. He found that it was impossible to make the 45-RPM vinyl singles of the time longer, as they could usually hold no more than five minutes of good-quality music. With the help of José Rodriguez, his remaster/mastering engineer, he pressed a single on a 10" disc instead of 7". They cut the next single on a 12" disc, the same format as a standard album. Moulton and Rodriguez discovered that these larger records could have much longer songs and remixes. 12" single records, also known as "Maxi singles", quickly became the standard format for all DJs of the disco genre.[22] 781b155fdc