ポスト・ディスコ
ポスト・ディスコ(
ポスト・ディスコ Post-disco | |
---|---|
ディスコ ダブ Pファンク ソウルミュージック リズム・アンド・ブルース | |
ニューヨーク、マイアミ、モントリオール、ロンドン 1970 | |
シンセサイザー、ドラムマシン、シーケンサー、ボーカル、キーボード、サンプラー など | |
ダンス・ポップ ハウス テクノ トランス Hi-NRG | |
サブジャンル | |
イタロ・ディスコ ダンスロック ダンス・パンク ブギー エレクトロ・ファンク | |
ガラージュ シカゴ・ハウス ポストパンク |
ディスコ
歴史
編集
ジョルジオ・モロダーとピート・ベロッテのコンビがシンセサイザーのみでバックトラックを
ディスコ・デモリッション・ナイト[11]
マイケル・ジャクソンのアルバム『オフ・ザ・ウォール』(プロデューサー:クインシー・ジョーンズ)は、R&Bやダンス・ミュージックを
起源
編集
「ポスト・ディスコ」という
チャート
編集
ポスト・ディスコ
レーベル | アーティスト | U.S. Dance [16] | U.S. R&B [16] | U.S. Pop [16] | U.S. M.R. [16] | U.K. Pop[17] | ||
---|---|---|---|---|---|---|---|---|
1980 |
「Celebration」[18] | De-Lite | クール・アンド・ザ・ギャング | #1 | #1 | #1 ('81) | ― | #7 |
1981 |
「レッツ・グルーヴ」 [19] | Columbia | アース・ウィンド・アンド・ファイアー | #3 | #1 | #3 | ― | #3 |
1982 |
「Last Night a DJ Saved My Life」[20] | Sound of New York | インディープ | #2 | #10 | ― | ― | #13 |
「ラブ・カム・ダウン」[21][22] | RCA | イヴリン・キング | #1 | #1 | #17 | ― | #7 | |
1983 |
「Give It Up」[23] | Meca | KC | ― | ― | #18 | ― | '#1 |
1983 |
「ビリー・ジーン」[24] | Epic | マイケル・ジャクソン | #1 | #1 | #1 | ― | #1 |
1984 |
「レッツ・ダンス」[24] | Epic | デヴィッド・ボウイ | #1 | #14 | #1 | #6 | #1 |
「Cool It Now」 [25] | MCA | ニュー・エディション | ― | #1 | #4 | ― | #43 | |
「Dr. Beat」 [26] | Epic | マイアミ・サウンド・マシーン | #17 | ― | ― | ― | #6 | |
1987 |
「Rhythm Is Gonna Get You」 [26] | Epic | マイアミ・サウンド・マシーン | #27 | ― | #5 | ― | ― |
ポスト・ディスコ・リバイバル
編集
2000
特徴
編集
ディスコ・ミュージックとは
演奏 者
編集
「 | 「Thanks To You」と「Don't Make Me Wait」がダブの |
」 |
ラリー・レヴァンは、アンダーグラウンドな
DJ、ミキサー、プロデューサーとして
ポスト・ディスコに
ポスト・ディスコのアルバムには、マイケル・ジャクソンの『スリラー』(1982
残 した影響
編集
1980
レコード・レーベル
編集
関連 項目
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脚注
編集
- ^ "Though it makes sense to classify any form of dance music made since disco as post-disco, each successive movement has had its own characteristics to make it significantly different from the initial post-disco era, whether it's dance-pop or techno or trance." — Allmusic
- ^ a b c Reynolds, Simon (2009) Grunge's Long Shadow - In praise of "in-between" periods in pop history (Slate, MUSIC BOX). Retrieved on 2-2-2009"
- ^ a b Slant Magazine | Music | 100 Greatest Dance Songs. Retrieved on 2-2-2009
- ^ Smay, David & Cooper, Kim (2001). Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears: "... think about Stock-Aitken-Waterman and Kylie Minogue. Dance pop, that's what they call it now — Post-Disco, post-new wave and incorporating elements of both." Feral House: Publisher, p. 327. ISBN 0922915695.
- ^ a b c d “Explore music…Genre: Post-disco/Dance rock”. Allmusic. 2009
年 4月 11日 閲覧 。 - ^ Haggerty, George E. (2000). Gay Histories and Cultures: An Encyclopedia. Taylor & Francis. p. 256. ISBN 0815318804. "House music is a form of post-disco dance music made popular in the mid 1980s in Chicago clubs…""
- ^ Demers, Joanna (2006). “Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste”. Popular Music (Cambridge Univ Press) 25: 25, 401–414. doi:10.1017/S0261143006001012. ""In terms of its song repertoire, DDR is rooted in disco and post-disco forms such as techno and house. But DDR can be read as the ultimate postmodern dance experience because the game displays various forms of dance imagery without stylistic or historical continuity (Harvey 1990, p. 62,…)"
- ^ Campbell, Michael (2008). Popular Music in America. Cengage Learning. p. 352. ISBN 0495505307. "Glossary: techno – post-disco dance music in which most or all of the sounds are electronically generated"
- ^ AllMusic - explore music... House: "House music grew out of the post-disco dance club culture of the early '80s." Retrieved on 12-27-2009
- ^ St. John, Graham (2004), Rave Culture and Religion, p. 50, ISBN 0415314496, "[sic] house music. As a post-disco party music, house features a repetitive 4/4 beat and a speed of 120 or more beats per minute..."
- ^ http://www.rollingstone.com/.../flashback-watch-disco-demolition-ni...
- ^ Serwer, Jesse (2009) XLR8R: Jesse Serwer in a interview with Dam-Funk. Retrieved on 2-2-2010.
- ^ http://www.danceclassics.net/producers.htm
- ^ Parliament/Funkadelic. (2009). In Student's Encyclopædia: "Combining funk rhythms, psychedelic guitar, and group harmonies with jazzed-up horns, Clinton and his ever-evolving bands set the tone for many post-disco and post-punk groups of the 1980s and 1990s.". Retrieved August 15, 2009, from Britannica Student Encyclopædia.
- ^ Cadence Magazine 10: 56. (1984).
- ^ a b c d Kool & The Gang: Billboard Singles • David Bowie: Billboard Singles • SOS Band: Billboard Singles • Indeep: Billboard Singles • Earth, Wind & Fire: Billboard Singles • Michael Jackson: Billboard Singles by Allmusic. Retrieved on August 11, 2009.
- ^ Search song on EveryHit.com database
- ^ [1]. Songfacts.com about Kool & The Gang trivia informations. Retrieved on 5. 5. 2009
- ^ Soul > LP > Earth Wind & Fire: Raise!: Earth Wind & Fire hits the 80s -- and never misses a beat! Turns out that the group's older style of jazzy funk was a perfect fit for the boogie-styled rhythms of the post-disco era". Dusty Groove America.com. Retrieved on August 12, 2009.
- ^ Grow, Kory (May 2008). Revolver Magazine article: Why The Most Dangerous Band Of The Decade, True Norwegian, Black Metallers, Gorgoroth, Turned On Itself - "When the post-disco classic "Last Night a DJ Saved My Life" by early-'80s New York crew Indeep comes on, King asks what the singer means by the bizarre titular statement.". No. 68. ISSN 1527-408X.
- ^ [2]. 70disco.com web. Re-retrieved on August 1, 2009
- ^ ShowArtist: Evelyn "Champagne" King. Disco-funk.co.uk. Retrieved on August 10, 2009.
- ^ Hoffmann, W. Frank & Ferstler, Howard (2005). Encyclopedia of Recorded Sound (Publication no. 2): "He [Harry Casey] briefly returned to the public eye billed as KC with the release of KC Ten (Meca 8301; 1984: #93), featuring the post-disco single 'Give It Up' (Meca 1001; 1984; #18), before fading back into obscurity". p. 566. ISBN 041593835X
- ^ a b The Eighties Club: The Politics and Pop Culture of the 1980s: "On the dance floor, David Bowie's "Let's Dance" and Michael Jackson's "Billie Jean" defined the post-disco beat." Retrieved on August 11, 2009.
- ^ One Hit Wonder Center - One-Hit Wonder Music of the 50's~90's: "There are also tracks to represent the rise of post-disco club/dance trend, such as Laid Back's "White Horse", New Edition's "Cool It Now", and Timex Social Club's " Rumors" ". Retrieved on August 12, 2009.
- ^ a b Morales, Ed (2002). Living in Spanglish: the search for Latino identity in America: ""With their group, Miami Sound Machine, ... "Doctor Beat," manages to fuse elements of Latin percussion with the electric hass heats of the post-disco era". p. 244. ISBN 0312262329.
- ^ (2001) CMJ New Music Monthly - Best New Music - Daft Punk (Discovery): "Although it's only fair to credit Chicago with the post-disco dance style's paternal rights, the French [Daft Punk] have (at the very least) earned covered weekend privilegies." Publisher: CMJ Network, Inc. No. 93. p. 71. ISSN 1074-6978
- ^ Paoletta, Michael (1999). Billboard Magazine: Reviews & Previews: Spotlight (Les Rythmes Digitales - Darkdancer): "[about funky and British synth-pop] two musical styles steeped in the post-disco/electro scene of New York in the early '80s". p. 30. ISSN 0006-2510
- ^ The Perfect Beats, Vol. 1 by Allmusic. Retrieved on 1-28-2010
- ^ Tech Noir - Disco > Shep Pettibone: Shep Pettibone in an interview with Steven Harvey. Retrieved on 12 26 2009
- ^ Cheeseman, Phil (1989). The History of House music. fantazia.org.uk | Artandpopculture. Retrieved on 2-19-2010
- ^ a b c d e f g h i j k “Explore music…Top Artists (under Post-disco)”. Allmusic. 2009
年 4月 11日 閲覧 。 - ^ Broughton, Frank & Brewster, Bill (2000). Larry Levan's Paradise Garage | DJhistory.com Archived 2014
年 10月 6日 , at the Wayback Machine. - Disco's revenge: "[sic] But by the turn of the eighties, he was experimenting with drum machines and synthesizers and, like François Kevorkian around the same time, forging a new electronic, post-disco sound". Retrieved on 1-4-2010. - ^ Pitchfork Album Reviews: VA -Trax Records: 20th Anniversary Collection. Retrieved on 1-4-2010
- ^ a b Bogdanov, Vladimir (2003). All Music Guide to Soul: The Definitive Guide to R&B and Soul. p. 709. ISBN 9780879307448. "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."
- ^ 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."
- ^ allmusic > ((( Bobby Orlando ))): "Genre: Electronic, Styles: Hi-NRG, Club/Dance, R&B, Post-disco". Retrieved on 12-27-2009.
- ^ Heyliger, M., Music - Help - Web - Review Archived 2008
年 12月4日 , 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 - ^ Ham, Anthony & Roddis, Miles and Lundgren, Kari (2008). Norway: Discover Norway - (The Culture) Interview with Bernt Erik Pedersen, music editor, Dagsavisen: "A lot of current dance music producers are influenced by the post-disco sound of the early 80s". Publisher: Lonely Planet Publications. p. 53. ISBN 1741045797.
- ^ Light, Alan (november, 1993). 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
- ^ Schoonmaker, Trevor (2003). Fela: from West Africa to West Broadway: "Puffy's consistent pilfering of pop coffers from a certain time period shows undoubtedly that he is influenced by the post-disco R&B bounce of the late 1970s and early 1980s". Publisher: Palgrave Macmillan. p. 4. ISBN 1403962103.