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Last updated on November 30, 2025, updated monthly. |
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 1 . Slave - Just a touch of Love"Just a Touch of Love" lands in 1979, sharing title duties with Slave’s fourth album and hauling them back toward commercial relevance. It climbs to #9 on the U.S. R&B chart, #26 on the club scene, and sneaks to #64 in the UK—charting overseas for the first time. New recruit Steve Arrington steps up on drums and vocals, delivering a slightly off-kilter style that sticks like velcro. Credits go to Arrington, Adams, Hicks, Turner, Young, and Webster—each offering a piece of its groove-heavy blueprint. Keith Sweat gives it a 1997 polish on his compilation, but the original keeps echoing, pulled into tracks by De La Soul, 2Pac, Mariah Carey, and Jurassic 5, among others. Backing it all is a lineup seemingly cribbed from a funk census: Arrington, Adams, Hicks, Webster, Young, Turner, Washington, Miller, Lockett Jr., and Curt Jones. Writer(s) : Noel Thomas Gallagher Publisher(s) : Cotillion Music Inc Featured on the 1979 album Just A Touch Of Love
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 2 . Shalamar - Make That MoveReleased in 1980 and spun off as a single the next year, "Make That Move" inserts itself into Shalamar's platinum-certified "Three for Love" with unmistakable polish. Helmed by producer Leon Sylvers III and embellished with Gene Dozier’s horn and string arrangements, it clocks in at a radio-friendly 3:45. Issued on the SOLAR label, the track sneaks onto the Billboard Hot 100 and lands a UK tenure stretching 10 weeks. Shalamar's core trio—Howard Hewett, Jody Watley, and Jeffrey Daniel—steers it all, under the executive umbrella of Dick Griffey. Writer(s) : William B Shelby, Richard B Dick Smith, Kevin Bion Spencer Publisher(s) : H And R Lastrada Music, Bmg Platinum Songs Us
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 3 . Imagination - Just An IllusionImagination’s "Just an Illusion" captures the essence of early 1980s post-disco with its blend of electro-soul and electronic dance music. Produced by Jolley & Swain, the track features the distinctive vocals of Leee John, which drive the song's haunting melody. The track became a signature hit for the group, reaching the top of charts across Europe and becoming a staple in films and video games, including F/X and La Vérité si je mens ! 2. Writer(s) : Steven Nicholas Jolley, Anthony John Swain, Ashley Ingram, John Leslie Publisher(s) : Associated Music International Ltd, Broadley Music Ltd (International) Featured on the 1982 album In The Heat Of The Night
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 4 . The S.O.S. Band - Just The Way You Like ItReleased in 1984, "Just the Way You Like It" gives The S.O.S. Band its fifth studio album title and a sense of direction, courtesy of writers and producers Jimmy Jam and Terry Lewis. Mary Davis leads the charge vocally, skating over a synth-heavy groove that splits the difference between post-disco shimmer and mid-'80s R&B polish. The track edges into the R&B Top 10 while leaning hard into the Minneapolis sound, which—at least for them—comes with drum machines and a straight face. Somewhere between funk footwork and machine soul, they find a mode that suits them just fine. Writer(s) : Thomas Henry Lockett, Mark F Hicks, Raymond Guy Turner, Daniel Webster, Steven R Arrington, Mark L Adams, Starleana E Taylor Publisher(s) : April Music Ltd (Gb 1), Tuff Audio Ltd Featured on the 1984 album Just the Way You Like It
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 5 . Club Nouveau - Lean On MeThis cover of Bill Withers' classic, released in 1987, topped the Billboard Hot 100. Originating from Sacramento, California, Club Nouveau - Jay King, Valerie Watson, Samuelle Prater, Denzil Foster, and Thomas McElroy - added a contemporary touch to this 70s hit with modern arrangements and new jack swing-influenced production. Jay King, also a member of Timex Social Club, played a key role in producing this version. Club Nouveau is also known for "Why You Treat Me So Bad," featured on the same album as "Lean On Me." The music video is directed by Richard Levine, Ken Ross. Writer(s) : William Harris Withers Publisher(s) : Songs Of Universal Inc Featured on the 1986 album Love & Pain
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 6 . Patrice Rushen - Forget Me NotsPatrice Rushen’s "Forget Me Nots" grooves with a funky bassline played by Freddie Washington and a soulful saxophone solo by Gerald Albright. Produced during a jam session at Rushen’s house, the track exudes spontaneity and creativity. It became a cornerstone of dance music, later sampled by Will Smith for "Men in Black" and George Michael in "Fastlove." The song’s lyrics, reflecting on a past love, resonate through its smooth, catchy melody and vibrant instrumentation. Writer(s) : Patrice Louise Rushen, Theresa G Mac Faddin, Fred Douglas Washington Publisher(s) : Mumbi Music, Baby Fingers Music Featured on the 1982 album Straight from the Heart
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 7 . Roger Troutman - I Want To Be Your ManReleased in 1987, "I Want To Be Your Man" is one of Roger Troutman's biggest hits, famous for his innovative use of the talk box. As the leader of Zapp, Roger popularized this device, influencing many funk and hip-hop artists. This funk ballad showcases his signature robotic voice. Despite initially disliking the song, Troutman released it after insistence from Warner Brothers, and it topped the R&B charts, becoming widely sampled by artists like Tupac Shakur and Dr. Dre. The music video is directed by Jon Small. Writer(s) : Roger Troutman, Larry Troutman Publisher(s) : Saja Music Company Featured on the 1987 album Unlimited!
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 8 . Evelyn 'Champagne' King - I'm In LoveEvelyn "Champagne" King’s "I'm In Love" drops during a transitional period in music, as disco waned and artists sought new directions. Produced by Morrie Brown, with Kashif and Lawrence Jones III as associate producers, this track stands out with its polished production and smooth transitions. The song, a massive hit on the Soul and Dance charts, is later sampled by Janet Jackson in "R&B Junkie," demonstrating its enduring influence. The music video is directed by Jon Small. Writer(s) : Kashif, Jean Schmitt Publisher(s) : M C A Music Ltd Featured on the 1981 album I'm in Love
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 9 . Alexander O'Neal - If You Were Here TonightAlexander O'Neal's "If You Were Here Tonight" is a melancholic ballad that delves into the heartache of a broken relationship. Written and produced by Monte Moir and released under the Tabu label, the song’s slow, emotional melody is characterized by its introspective lyrics and tender production. The track has been covered by multiple artists, proving its lasting impact as a soulful reflection on love and loss. Writer(s) : Monte S Moir Publisher(s) : New Perspective Publishing Inc, Universal Music Corporation Featured on the 1985 album Alexander O'Neal
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 10 . The Whispers - And the Beat Goes OnThe Whispers’ "And the Beat Goes On," produced by Leon F. Sylvers III alongside William B. Shelby and Stephen Shockley, emerges as a 1979 gem from their self-titled album. Topping Billboard's Hot Soul Singles chart and reaching number 19 on the Hot 100, it also cracked international top 10s. With the velvety vocals of Wallace "Scotty" and Walter Scott layered over funky basslines, shimmering synthesizers, and crisp percussion, it wraps resilience in disco-fueled optimism. Writer(s) : Dick Griffey, Nidra E Sylvers, Leon Sylvers Publisher(s) : Rosy Publishing Inc Featured on the 1979 album The Whispers
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 11 . Shalamar - Over And OverReleased in 1983, "Over and Over" by Shalamar is a disco-funk classic. Formed by Dick Griffey and Don Cornelius of Soul Train, the group was a major influence in music and fashion. "Over and Over" features a catchy rhythm and vocal harmonies. Group members Howard Hewett, Jody Watley, and Jeffrey Daniel helped popularize dance styles like body-popping. The song's main theme contrasts commitment in a relationship with the "games" people play to avoid emotional involvement. Writer(s) : Canaan Smith, Andrew Creighton Dodd Publisher(s) : Birdtracks Publishing, Vistaville Music, Seven Peaks Music, Jackson Shelby Music Company Featured on the 1983 album The Look
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 12 . Incognito - Always There"Always There" by Incognito featuring Jocelyn Brown, a renowned singer known for her collaborations with dance and soul artists like Masters at Work and Todd Terry, was released in 1991. Recorded in London studios, the track was produced by Jean-Paul "Bluey" Maunick, leader of Incognito, and gained international recognition for its fusion of jazz-funk and acid jazz. The music video is directed by James Hyman. Writer(s) : William Fulto N Jeffries, Ronald W Laws, Paul B Allen III Publisher(s) : At Home Music Featured on the 1991 album Inside Life
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 13 . Level 42 - Something About YouReleased in September 1985, "Something About You" by Level 42 frames relational turbulence through slick synth-funk arrangements and clipped basslines. The video traces fragmented romantic entanglements, casting the band as train passengers haunted by conflicted versions of themselves with the same elusive woman, portrayed by Cherie Lunghi. Mark King adopts a theatrically grim persona evocative of Olivier's Archie Rice from "The Entertainer." The track crosses over to the U.S. mainstream, peaking at No. 7 on the *Billboard* Hot 100. It resurfaces decades later in *Grand Theft Auto: The Ballad of Gay Tony*, filing into Vice City FM’s soundtrack with a straight face and slick groove still intact. The music video is directed by Stuart Orme. Writer(s) : Charles Gould Rowland, Philip Gabriel Gould, Mark King, Waliou Badarou, Michael David Lindup Publisher(s) : Sgo Music Publishing Ltd, Ruby Ruby Ltd (Prs), Ishe, Peermusic Ltd (Uk), Bmg Rights Management Uk Limited Featured on the 1985 album World Machine
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 14 . Dynasty - I'Ve Just Begun To Love YouDynasty’s "I've Just Begun to Love You" epitomizes the sophisticated vocal harmonies and lush production typical of Solar Records in the early '80s. Produced by Leon Sylvers III, the track showcases the signature sound of the label, blending smooth grooves with polished arrangements. The song’s elegant melodies and rich harmonies capture the essence of the time, making it a standout on dance floors and radio waves alike. The music video is directed by Mark Robinson. Writer(s) : Shelby William B, Smith Ricky Darnell Publisher(s) : Portrait Solar Songs Inc Featured on the 1980 album Adventures in the Land of Music
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 15 . Ashford - SolidSolid, recorded by American husband-and-wife duo Ashford & Simpson, debuts in September 1984 as the lead single from their eleventh studio album, Solid (1984). The track claims the number one spot on the US Billboard soul chart, number 12 on the Billboard Hot 100, and enters the top five in Canada, Ireland, Germany, and the UK by early 1985. Inspired by a street greeting—“Yo, solid!”—Nick Ashford channels this phrase into lyrics celebrating a partnership fortified by forgiveness. The song, written and produced by the duo with Valerie Simpson on synthesizers, evolves into their hallmark crossover hit. The New York City-set music video features Ashford & Simpson singing in Central Park’s rain-swept arches alongside diverse onlookers seeking shelter. Notable for past compositions for Ray Charles, Marvin Gaye, and Diana Ross, this release cements their 1960s Harlem choir beginnings into mainstream success. Writer(s) : Thomassina Carro Llyne Smith, Thomas Fredrick Browne Publisher(s) : Browne Thomas Publishing Inc, Roaring Fork Music Featured on the 1984 album Solid
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 16 . Marky Mark - Good VibrationsFeaturing a sample from "Love Sensation" by disco singer Loleatta Holloway, "Good Vibrations" by Marky Mark and The Funky Bunch, released in July 1991, was a resounding success, reaching number one on the Billboard Hot 100 in the US. With multiple remixed versions by influential house producer Todd Terry, the song became a 90s anthem, largely thanks to its infectious energy and the rising popularity of Mark Wahlberg, who later pursued a prominent acting career. The music video is directed by Scott Kalvert. Writer(s) : , Amir Shakir, Dan Hartman, Mark Wahlberg, Donald Edmond Wahlberg Publisher(s) : Wc Music Corp, Emi Blackwood Music Inc Featured on the 1991 album Music for the People
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 17 . Zapp - Computer LoveA 1985 single from Zapp’s album The New Zapp IV U, "Computer Love" stretches a slow-burning groove across electro-funk terrain. Roger Troutman co-writes and produces, roping in Shirley Murdock and Charlie Wilson for vocals that ping-pong between yearning and synthed-out flirtation. Troutman’s talk box does most of the seducing, lacing R&B melodrama with robotic charm. It glides into quiet storm territory almost by accident and winds up a frequent donor to hip-hop’s sample bank. Writer(s) : Roger Troutman, Shirley J. Murdock, Larry Troutman Publisher(s) : Songs Of Lastrada, R2M Music Featured on the 1985 album The New Zapp IV U
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 18 . Evelyn 'Champagne' King - Love Come DownAnother hit from Evelyn "Champagne" King, "Love Come Down" is a groove-laden track that dominated both the Billboard Black Singles and Hot Dance/Disco charts. Produced by Morrie Brown, the song’s infectious rhythm and catchy hooks helped it become an international success, particularly in the UK. The combination of King’s powerful vocals and the song’s irresistible beat solidified its place in dance music history. Writer(s) : Kashif Publisher(s) : Kashif Music, New Music Group Inc The Featured on the 1982 album Get Loose
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 19 . Tom Browne - Funkin' for JamaicaTom Browne's "Funkin' for Jamaica (N.Y.)," from his 1980 album "Love Approach," pays homage to his Queens neighborhood roots. Co-written with vocalist Toni Smith, whose dynamic performance elevates the track, the song fuses jazz-funk precision with a community's vibrant pulse. A powerhouse ensemble led by Bernard Wright, Marcus Miller, Dave Grusin, Bobby Broom, and Buddy Williams crafts its groove. A Billboard R&B chart-topper, it remains an enduring funk landmark, sampled widely in hip-hop. Writer(s) : Nickolas Ashford, Valerie Simpson Publisher(s) : Nick O Val Music Co Inc Featured on the 1980 album Love Approach
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 20 . Shalamar - Take That To The BankReleased in 1978, "Take That to the Bank" by Shalamar delivers a funky disco groove paired with a polished production courtesy of Leon Sylvers III. Set against the backdrop of ‘70s nightclub culture, the track thrives on its meticulous bassline and tight rhythmic interplay, making it an anthem for the dance floor. Its lyrics touch on themes of trust and unwavering commitment, merging feel-good energy with a message that resonated with audiences of the era. Though not a massive chart-topper, its impact on disco compilations and club playlists ensured it remained a staple of the genre’s late golden years. Shalamar's synchronized choreography during their performances of the song, including a memorable "Top of the Pops" appearance, added a visual element emblematic of disco’s glitzy aesthetic. Balancing slick production with catchy hooks, it serves as a prelude to the group’s eventual dominance in the ‘80s, predating hits like “A Night to Remember.” Writer(s) : Kevin Bion Spencer, Leon Sylvers Publisher(s) : Notting Hill Music Ltd (Uk), Portrait Solar Songs Inc
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ABOUT POST-DISCOPost-Disco: The Sound & The WordsPost-Disco represents a significant evolution from traditional disco, introducing elements that would profoundly shape the music of the 1980s. While classic disco was characterized by rich orchestrations, organic instrumentation, and infectious rhythms, Post-Disco embraced a more minimalist and futuristic approach. Influential producers of the era, such as Kashif, Arthur Baker, and Larry Levan, were instrumental in this transformation. With the advent of synthesizers and drum machines, rhythms became more jagged and syncopated. The synthesized bass, often played in a staccato manner, became a central feature of the production, infusing tracks with a distinct energy and a pulsating drive. Vocals were sometimes treated with effects, further integrating them into the electronic instrumentation, reinforcing the idea that the voice was just another instrument within the mix. Melodically, Post-Disco stood out with catchy and often repetitive lines, crafted using synthesizers to create hooks that lingered in the listener’s mind. Unlike disco, where melodies were frequently carried by acoustic instruments or backed by lush vocal harmonies, Post-Disco favored more direct and straightforward melodic lines. The result was a type of dance music that was both familiar and innovative, capturing the spirit of the time while also paving the way for future developments in electronic music. Key Equipment Used in Post-Disco Production In the realm of synthesizers: For drum machines: In the realm of effects and processors: Lyrics in Post-Disco tracks are often simple and catchy, designed primarily to complement the atmosphere and groove of the music rather than to convey complex or profound messages. They tend to be repetitive, featuring short, punchy phrases that blend well with the beats and bass lines. Choruses are crafted to be memorable, enhancing the effectiveness of the tracks on the dance floor. Common themes in Post-Disco lyrics include love, partying, dancing, and freedom. These light-hearted subjects align with the genre’s main objective: to create a festive and energetic atmosphere that compels people to dance. Post-Disco: After-lifePost-Disco served as a bridge between disco and the musical genres that would dominate the scene in the following decades. Its influence is vast and multifaceted, impacting pop music, dance music, and electronic music, and it remains an essential chapter in musical history. The electronic rhythms, synthesized bass lines, and catchy melodies of Post-Disco were adopted by numerous artists across various genres. Producers like Jimmy Jam & Terry Lewis were heavily influenced by Post-Disco and applied these techniques in their productions for artists like Janet Jackson, whose albums played a pivotal role in defining the sound of R&B in the 1980s and 1990s. Post-Disco is also considered a direct precursor to house music. The simplification of song structures and the emphasis on electronic rhythms were key elements that early house producers in Chicago adopted, remixing and sampling tracks such as “Let No Man Put Asunder” by First Choice or “Don’t Make Me Wait” by The Peech Boys. Furthermore, Post-Disco had a significant impact on funk, particularly through the development of electro-funk by artists like Prince and Zapp & Roger, who incorporated drum machines and synthesized bass lines into their music. By laying the groundwork for the development of electronic music and dance music, Post-Disco demonstrated that stripped-down, electronic productions could captivate dancers just as much, if not more, than the more ornate disco tracks. It opened the door to genres like techno, Italo-disco, and the club culture that flourished in Europe throughout the 1980s and 1990s. Post-Disco: Record LabelsThe following labels are known for having produced artists associated with the Post-Disco genre: – Prelude Records Further Reading and ViewingMagazines Active – Billboard, already established as a leading authority in music charts, began to include sections dedicated to dance music and clubs in the late 1970s and early 1980s. The “Dance Club Songs” chart is one example of this expansion. Now Defunct. Look for the archives – Record Mirror, a British magazine, widely covered pop, rock, and dance music. It included special sections for DJs and clubs, with charts and reviews of Post-Disco tracks and dance music. Books – “Last Night a DJ Saved My Life: The History of the Disc Jockey” by Bill Brewster and Frank Broughton. This book explores the history of DJing and dance music, including a section on the transition from disco to Post-Disco. Documentaries – “The Disco Years” (VH1’s The ’70s). This documentary, although centered on disco, includes discussions on the decline of disco and the rise of Post-Disco. |
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