The term post-disco has multiple meanings. Sometime after 1990, an Allmusic editorial contributor used "post-disco" in an attempt to isolate a dance music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music. "Post-disco" was used in 1984 by Cadence Magazine when defining post-disco soul as disco without the loud bass-drum thump. In 1985, New York Magazine referenced post-disco in relation to electronic funk.
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- The term post-disco has multiple meanings. Sometime after 1990, an Allmusic editorial contributor used "post-disco" in an attempt to isolate a dance music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music. "Post-disco" was used in 1984 by Cadence Magazine when defining post-disco soul as disco without the loud bass-drum thump. In 1985, New York Magazine referenced post-disco in relation to electronic funk. Other authors emphasize "post-" (meaning "after")) to indicate a greater disconnect from the disco era and disco-influenced music. Billboard Magazine, for example, mentioned the word twice: in 1982, when dividing post-disco movements into another category called "post-disco pop", citing Knack, Barbra Streisand, Kenny Rogers, and Christopher Cross as new wave and adult contemporary artists who figured in this kind of music, and in 1994, when the word was used in relation to reggae song "Pass The Dutchie" by Musical Youth. The Allmusic author provides few specifics other than implying post-disco follows from the DJ- and producer-driven, increasingly electronic side of disco; and singling out "boogie" ("midtempo tracks steeped in funk"), early Italo-disco ("electronic tracks with heavy traces of Giorgio Moroder") and "the beginnings of alternative dance" as forms of the post-disco "genre". In 2006, however, another author explicitly referenced both house music and techno as forms of post-disco. Likewise, George E. Haggerty, in his 2000 book Gay Histories and Cultures, says house is a form of post-disco dance music that has been popular in Chicago clubs, and Michael Campbell, in his 2008 book Popular Music in America defined techno as post-disco dance music. A watershed album of the post-disco era was Michael Jackson & Quincy Jones's Off The Wall, which helped establish a direction of dance/R&B music and influenced many young producers. Parliament-Funkadelic, a funk band, also set the tone for many post-disco and post-punk bands of the 1980s.
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- Short sample of "Let's Groove", post-disco song originally released in 1982 by Earth, Wind & Fire.
- Short sample of "Material Girl", song from post-disco era, originally released in 1984 by Madonna.
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- MaterialGirlSample.ogg
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- early Italo-disco • Dance-pop • Alternative danceHowever, this "genre" may be an Allmusic fabrication. • House • ElectroAllmusic categorizes post-disco as a subgenre of the "Urban" subgenre of Hip Hop (itself a subgenre of R&B), and then lists Urban, Electro and New Wave as related genres. • Chicago House
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- 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."
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- Let's Groove (sample)
- Material Girl (sample)
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- The term post-disco has multiple meanings. Sometime after 1990, an Allmusic editorial contributor used "post-disco" in an attempt to isolate a dance music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music. "Post-disco" was used in 1984 by Cadence Magazine when defining post-disco soul as disco without the loud bass-drum thump. In 1985, New York Magazine referenced post-disco in relation to electronic funk.
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