Post-disco
It was developed from the rhythm and blues sound exemplified 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] followed 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.
[14][16][17][18][19] 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.
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][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.
"[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.
[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.
[31][32] 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.
"[33] French-born songwriting duo Henri Belolo and Jacques Morali, creators of the successful Village People act, moved their former disco act Ritchie Family to RCA Victor to release their next album co-produced by funk musician Fonzi Thornton and Petrus, I'll Do My Best, which mirrors their radical musical shift.
Dick Griffey and Leon Sylvers III of SOLAR Records, who pioneered their own signature sound, produced Ohio-based group Lakeside's album Rough Riders which already displayed these new trends and, "instrumentally demonstrates economic arrangements (featuring brass, keyboards and guitar)," as noted by Billboard, praising the album.
Some of these musicians are: Daft Punk, a French house music group, adopted elements of post-disco, disco and synth-pop into Discovery.
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.
[67] Another compilation series are Nighttime Lovers (volume 1-10) and the mixed-up album titled The Boogie Back: Post Disco Club Jams.
[68]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.
Brooklyn Transit Express member Kashif, noted for his use of bass synthesizer[69] 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.
DJ Larry Levan implemented elements of dub music in his productions and mixes for various post-disco artists, including his own group The Peech Boys.
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.
New bands and musicians of the era appeared, including Imagination, D. Train, Skyy, Aurra, Komiko, Vicky D, Rockers Revenge, Dayton, and Unlimited Touch.
The movement survived as a post-disco–freestyle crossover music that spanned Raww, Hanson & Davis, Timex Social Club, Starpoint and Miami Sound Machine.
[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).
[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.
