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Last updated on Apr 1,2025, updated monthly. |
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 1 . The S.O.S. Band - Take Your Time [Do It Right]Released in 1980, this iconic song topped the Billboard Disco chart and reached number three on the Billboard Hot 100 in the US. Characterized by its funky groove and catchy rhythm, the track, produced by Sigidi Abdullah and Harold Clayton, became an instant hit in 80s nightclubs. The group, initially called Santa Monica before adopting The S.O.S. Band (Sounds Of Success), was formed in Atlanta in 1977. "Take Your Time [Do It Right]" was also covered by Max-A-Million in 1995, reaching 18 on the Billboard Hot Dance Music/Club Play chart. Writer(s) : Sigidi Bashir Abdullah, Harold Lee Clayton Publisher(s) : Songs Of Universal Inc, Sigidi S Song, Universal Music Corporation Featured on the 1980 album S.O.S
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 2 . 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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 3 . Cheryl Lynn - EncoreCheryl Lynn’s "Encore" emerges as a quintessential track of the 1980s post-disco and funk scene, produced by the legendary duo Jimmy Jam & Terry Lewis. With its infectious funky bassline and punchy keyboards, the song commands the dance floor. The extended dance version, clocking in at over eight minutes, takes the groove even deeper. In the music video, Cheryl Lynn delivers an electrifying live performance, encapsulating the vibrant energy of the era. Writer(s) : Terry Steven Lewis, Jimmy Jam Publisher(s) : Kmr Music Royalties Ii Scsp Featured on the 1983 album Preppie
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 4 . 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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 5 . 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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 6 . Incognito - Always There (w/ Jocelyn Brown)"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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 7 . 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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 8 . Marky Mark and The Funky Bunch - 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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 9 . 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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 10 . 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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 11 . Howard Johnson - So FineHoward Johnson’s 1982 single *“So Fine”* rides a groove-heavy bassline straight into early ’80s R&B sensibilities. Pulled from his debut album *“Keepin’ Love New”* under A&M Records, the song leaned heavily on Kashif’s polished production. Johnson’s move from the disco-funk collective Niteflyte to solo artist saw him embrace smoother vocals and clean funk arrangements. The track reached #15 on Billboard’s R&B charts but stayed within urban playlists rather than crossing over into broader pop territory. Club DJs favored its infectious rhythm, helping cement it as a cult classic for those chasing funk-infused nostalgia. Writer(s) : Kashif Publisher(s) : Universal Duchess Music Corporation Featured on the 1982 album Keepin' Love New
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 12 . 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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 13 . 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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 14 . 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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 16 . The Whispers - It's A Love ThingThe Whispers’ "It's a Love Thing," produced by Leon Sylvers III, is a fast-paced R&B track with an infectious bassline and sophisticated vocal harmonies. The song’s lively tempo and catchy chorus made it a hit on both the charts and the dance floor. The music video, featuring actress Daphne Maxwell Reid in an early role, adds a layer of Hollywood glamour to the track’s energetic vibe, cementing its place as a classic in the R&B genre. The music video is directed by The Molotov Brothers. Writer(s) : William B Shelby, Dana L Meyers Publisher(s) : Notting Hill Music Ltd (Uk), Portrait Solar Songs Inc Featured on the 1980 album Imagination
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 17 . 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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 18 . Ashford & Simpson - 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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 19 . Jocelyn Brown - Somebody Else's GuyJocelyn Brown’s "Somebody Else's Guy" delivers a powerful punch of emotion, as the lyrics explore the heartache of discovering that the one you love is already committed to someone else. Co-written by Jocelyn and her brother Annette Brown, and produced by Allen George and Fred McFarlane, the song quickly became a hit, especially in the UK. Brown’s commanding vocals and the song’s soulful groove made it a standout in the mid-1980s R&B scene, resonating with listeners who have experienced the sting of unrequited love. Writer(s) : Annette E Brown, Jocelyn Brown Publisher(s) : Jocelyn Brown S Music Featured on the 1984 album Somebody Else's Guy
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 20 . 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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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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