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: The main forces in post-disco were 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. 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. 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. Soulful female vocals, however, remained an essence of post-disco. Term usage The term "post-disco" was used as early as June 1979, predating Disco Demolition Night, when an Associated Press editor deployed the term in a headline to describe the band Foxy; drummer Joe Galdo opined that disco music was evolving and that the band's sound was moving away from a traditional disco sound toward one of "soulful pop". In 1984, Cadence magazine defined post-disco soul as "disco without the loud bass-drum thump." 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." 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. 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. ==History==

Background events United States 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. Brazilian record producer and fusion jazz pioneer Eumir Deodato, well aware of current trends in American underground music, turned around the career of a failing funk music group Kool & the Gang by adopting and pursuing a light pop–post-disco sound that not only revitalized the band's image but also turned out to be the most successful hits in their entire career. A watershed album of post-disco was Michael Jackson's 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. Other examples of early American artists drawing from post-disco are Rick James, Change and Teena Marie. 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. 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 1980s commercially successful records from the post-disco movement. Compare "Jungle Boogie" (1974) with "Get Down on It" (1981) by Kool & the Gang; "Boogie Wonderland" (1979) with "Let's Groove" (1981) by Earth, Wind & Fire; "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). 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: Daft Punk, a French house music group, adopted elements of post-disco, disco and synth-pop into Discovery. Another artist, Les Rythmes Digitales, released a post-disco/electro-influenced album, Darkdancer. Canadian music group Chromeo debuted in 2004 with the album ''She's in Control. Similar Los Angeles-based musician Dâm-Funk recorded Toeachizown'', a boogie- and electro-influenced album released in 2009. 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. 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). 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==

Particular psychedelic soul artists like Sly and the Family Stone liked to push the boundaries of conventional music by employing what was to be a precursor to synthesizer, electronic organ. Multi-instrumentalist Stevie Wonder was one of the early artists venturing into the realms of analog synthesizer after being impressed by the work of T.O.N.T.O. Expanding Head Band, an influential multinational electronic music duo of sound designers. Wonder remarked, "How great it is at a time when technology and the science of music is at its highest point of evolution ... A toast to greatness, a toast to Zero Time, forever." With an increasing growth of personalized synthesizers on the market they were becoming more commercially available and easy-to-use, especially those produced by Roland Corporation. One of their first users was cutting-edge artist George Clinton and his Parliament-Funkadelic collective project. Funk rhythms, psychedelic guitars, synthetic bass-rich lines, the particularly melodic endeavor and music minimalism of P-Funk. Brooklyn Transit Express member Kashif, noted for his use of bass synthesizer during the group's tour, later went solo as a record producer and began crafting funk-influenced songs for Evelyn "Champagne" King that showed a minimalism-akin approach, the disregard of disco music arrangements, and affiliation to the method of "one-man band" previously paved through by Wonder. 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. 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. Most of them were independently owned and had their own distribution but some particular mainstream labels, notably RCA Records, 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. ==Legacy==

The 1980s post-disco sounds also inspired many Norwegian dance music producers. 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). Also Sean "Puffy" Combs has been influenced by R&B-oriented post-disco music in an indirect way. ==Related genres==

Boogie Boogie (or electro-funk) 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." Dance-rock 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." and artists like Liquid Liquid, Polyrock, Dinosaur L, and the Disco Not Disco (2000) compilation album. 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." Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as umbrella term used by various DJs in the 1980s. 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 "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. Another crossover post-disco song was "Juicy Fruit" by Mtume, peaking at number 45 on the Hot 100 in 1983. 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." 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, 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. ==Prominent record labels==

;Primary • Salsoul Records • Prelude Records • West End Records • SOLAR Records • Total Experience Records • Tabu Records • Mercury Records • Emergency Records(Shannon) • SAM Records(Gary's Gang) ;Secondary • Sugar Hill Records • Def Jam Records • Enjoy Records • Profile Records • Tommy Boy • Jive Records • Cold Chillin' Records ==Compilations==