Disco funk

disco funk

Okt. Daraus entstand später u.a. R&B (Rhythm & Blues), aber eben auch Jazz, Soul, Funk und somit letztendlich HipHop. Also kurz gesagt: einfach. expose.nu: Various – Only Disco Funk! jetzt kaufen. Bewertung ,. Disco, Pop, Funk, 2 CD, Import-Eu. Sehr gute Zusammenstellung von mehr oder weniger bekannten Songs aus der Disco-Ecke mit all ihren Spielarten (Funk, Jazz, Soul, Euro). Umfaßt grob.

Starting in the s, country music began a slow rise in American main pop charts. Emblematic of country music's rise to mainstream popularity was the commercially successful movie Urban Cowboy.

The continued popularity of power pop and the revival of oldies in the late s was also related to the disco backlash; the film Grease was emblematic of this trend.

Somewhat paradoxically, the star of both films was John Travolta , who in had starred in Saturday Night Fever , which remains one of the most iconic disco films of the era.

During this period of decline in disco's popularity, several record companies folded, were reorganized, or were sold. Midsong International Records ceased operations in Salsoul Records continues to exist in the s, but primarily is used as a reissue brand.

Many groups that were popular during the disco period subsequently struggled to maintain their success—even those that tried to adapt to evolving musical tastes.

The Bee Gees , for instance, had only one top entry 's " One " and three more top songs despite recording and releasing far more than that and completely abandoning disco in their s and s songs in the United States after the s, even though numerous songs they wrote and had other artists perform were successful.

Of the handful of groups not taken down by disco's fall from favor, Kool and the Gang , Donna Summer , the Jacksons —and Michael Jackson in particular—stand out: In spite of having helped define the disco sound early on, [47] they continued to make popular and danceable, if more refined, songs for yet another generation of music fans in the s and beyond.

Factors that have been cited as leading to the decline of disco in the United States include economic and political changes at the end of the s, as well as burnout from the hedonistic lifestyles led by participants.

In January , rock critic Robert Christgau argued that homophobia , and most likely racism , were reasons behind the backlash, [37] a conclusion seconded by John Rockwell.

Nonetheless, the attacks on disco gave respectable voice to the ugliest kinds of unacknowledged racism, sexism and homophobia.

Steve Dahl , who had spearheaded Disco Demolition Night, denied any racist or homophobic undertones to the promotion, saying, "It's really easy to look at it historically, from this perspective, and attach all those things to it.

But we weren't thinking like that. In , the music industry in the United States underwent its worst slump in decades, and disco, despite its mass popularity, was blamed.

The producer-oriented sound was having difficulty mixing well with the industry's artist-oriented marketing system.

Record producer Giorgio Moroder 's soundtracks to American Gigolo , Flashdance and Scarface which also had a heavy disco influence proved that the style was still very much embraced.

Queen 's album, Hot Space was inspired by the genre as well. In the s, disco and its legacy became more accepted by music artists and listeners alike, as more songs and films were released that referenced disco.

In the early s, an updated genre of disco called "nu-disco" began breaking into the mainstream. The song's disco influence, which appears on Know Your Enemy , was described as being "much-discussed".

A Man After Midnight ". In addition to her disco-influenced attire to award shows and interviews, her Confessions Tour also incorporated various elements of the s, such as disco balls, a mirrored stage design, and the roller derby.

The success of the "nu-disco" revival of the early s was described by music critic Tom Ewing as more interpersonal than the pop music of the s: Disco was a music of mutual attraction: Its dancefloor is a space for immediate pleasure, but also for promises kept and otherwise.

All of s great disco number ones explore how to play this hand. Madison Avenue look to impose their will upon it, to set terms and roles.

Spiller is less rigid. In , several s-style disco and funk songs charted, and the pop charts had more dance songs than at any other point since the late s.

In addition, Arcade Fire 's Reflektor featured strong disco elements. In , disco songs or disco-styled pop songs are showing a strong presence on the music charts as a possible backlash to the s-styled synthpop, electro house and dubstep that have been dominating the current charts.

Justin Timberlake's song " Can't Stop the Feeling! The Martian , a film, extensively uses disco music as a soundtrack, although for the main character, astronaut Mark Watney, there's only one thing worse than being stranded on Mars: Diana Ross was one of the first Motown artists to embrace the disco sound with her successful outing " Love Hangover " from her self-titled album.

At the request of Motown that he produce songs in the disco genre, Marvin Gaye released " Got to Give It Up " in , despite his dislike of disco. He vowed not to record any songs in the genre, and actually wrote the song as a parody.

Stevie Wonder released the disco single " Sir Duke " in as a tribute to Duke Ellington , the influential jazz legend who had died in It contained the disco single " Baby That's Backatcha ".

Other Motown artists who scored disco hits include: Several of Motown's solo artists who left the label went on to have successful disco songs.

Mary Wells , Motown's first female superstar with her signature song " My Guy " written by Smokey Robinson , abruptly left the label in She briefly reappeared on the charts with the disco song "Gigolo" in Jimmy Ruffin , the elder brother of the Temptations lead singer David Ruffin , was also signed to Motown, and released his most successful and well-known song " What Becomes of the Brokenhearted " as a single in Ruffin eventually left the record label in the mids, but saw success with the disco song " Hold On To My Love ", which was written and produced by Robin Gibb of the Bee Gees , for his album Sunrise.

Edwin Starr , known for his Motown protest song " War " , reentered the charts in with a pair of disco songs, " Contact " and " H.

The song was intended as an affectionate disco-style pastiche of the Motown sound, in particular the various duets recorded by Marvin Gaye with Tammi Terrell and Kim Weston.

Many Motown groups who had left the record label charted with disco songs. Michael Jackson was the lead singer of the Jackson 5 , one of Motown's premier acts in the early s.

They left the record company in Jermaine Jackson , however, remained with the label after successful songs like " I Want You Back " and " ABC " , and even the disco song " Dancing Machine " The Detroit Spinners were also signed to the Motown label and saw success with the Stevie Wonder-produced song " It's a Shame " in They left soon after, on the advice of fellow Detroit native Aretha Franklin , to Atlantic Records , and there had disco songs like " The Rubberband Man " However, one single, "The Night" , was released in Britain in , and thanks to popularity from the Northern Soul circuit, reached number seven on the UK Singles Chart.

Norman Whitfield was a producer at Motown, renowned for creating innovative " psychedelic soul " songs.

The genre later developed into funk , and from there into disco. The Undisputed Truth , a Motown recording act assembled by Whitfield to experiment with his psychedelic soul production techniques, found success with their song " Smiling Faces Sometimes ".

In , singer, songwriter and producer Willie Hutch signed with Whitfield's new label. He had been signed to Motown since , scored a successful disco single with his song "In and Out".

The group Rose Royce produced the album soundtrack to the film Car Wash , which contained the commercially successful song of the same name. Singer Stacy Lattisaw signed with Motown after achieving success in the disco genre.

In addition, her first ever single, back in , was a disco cover of " When You're Young and in Love ", which was most famously recorded by Motown female group the Marvelettes in Additionally, the debut single of Shalamar , the group originally created as a disco-driven vehicle by Soul Train creator Don Cornelius , was " Uptown Festival " , a medley of 10 classic Motown songs sung over a s disco beat.

As disco's popularity sharply declined in the United States, abandoned by major U. The German group Kraftwerk also had an influence on Euro disco.

This Swedish quartet, which sang in English, found success with singles such as " Waterloo " , " Fernando " , " Take a Chance on Me " , " Gimme! A Man After Midnight " , and their signature smash " Dancing Queen " —ranks as the eighth best-selling act of all time.

Dalida successfully adjusted herself to disco era and released at least a dozen of songs that charted among top number 10 in whole Europe and wider.

Her greatest international single was "Tanti Auguri" "Best Wishes" , which has become a popular song with gay audiences.

The song is also known under its Spanish title "Para hacer bien el amor hay que venir al sur" which refers to Southern Europe, since the song was recorded and taped in Spain.

The Estonian version of the song "Jätke võtmed väljapoole" was performed by Anne Veski. It was her only entry to the UK Singles Chart , reaching number 9, where she remains a one-hit wonder.

The song charted in different European countries. The music typically layered soaring, often- reverberated vocals, often doubled by horns, over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar.

Synthesizers are also fairly common in disco, especially in the late s. The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as harp , violin , viola , cello , trumpet , saxophone , trombone , clarinet , flugelhorn , French horn , tuba , English horn , oboe , flute sometimes especially the alto flute and occasionally bass flute , piccolo , timpani and synth strings , string section or a full string orchestra.

Most disco songs have a steady four-on-the-floor beat, a quaver or semi-quaver hi-hat pattern with an open hi-hat on the off-beat, and a heavy, syncopated bass line.

Other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are also found in disco recordings, and Latin polyrhythms , such as a rhumba beat layered over a merengue, are commonplace.

The quaver pattern is often supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present.

Songs often use syncopation , which is the accenting of unexpected beats. Disco is further characterized by a 16th note division of the quarter notes as shown in the second drum pattern below, after a typical rock drum pattern.

The orchestral sound usually known as "disco sound" relies heavily on string sections and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression.

Typically, all of the doubling of parts and use of additional instruments creates a rich " wall of sound ".

There are, however, more minimalist flavors of disco with reduced, transparent instrumentation, pioneered by Chic.

In , Giorgio Moroder again became responsible for a development in disco. It became the first well-known disco song to have a completely synthesized backing track.

The song is still considered to have been well ahead of its time. Other disco producers, most famously Tom Moulton , grabbed ideas and techniques from dub music which came with the increased Jamaican migration to New York City in the s to provide alternatives to the "four on the floor" style that dominated.

DJ Larry Levan utilized styles from dub and jazz and remixing techniques to create early versions of house music that sparked the genre. The "disco sound" was much more costly to produce than many of the other popular music genres from the s.

Unlike the simpler, four-piece band sound of the funk , soul of the late s, or the small jazz organ trios , disco music often included a large pop band, with several chordal instruments guitar, keyboards, synthesizer , several drum or percussion instruments drumkit, Latin percussion, electronic drums , a horn section , a string orchestra , and a variety of "classical" solo instruments for example, flute, piccolo, and so on.

Disco songs were arranged and composed by experienced arrangers and orchestrators , and record producers added their creative touches to the overall sound using multitrack recording techniques and effects units.

Recording complex arrangements with such a large number of instruments and sections required a team that included a conductor , copyists , record producers , and mixing engineers.

Mixing engineers had an important role in the disco production process, because disco songs used as many as 64 tracks of vocals and instruments.

Mixing engineers and record producers, under the direction of arrangers, compiled these tracks into a fluid composition of verses, bridges, and refrains, complete with orchestral builds and breaks.

Mixing engineers and record producers helped to develop the "disco sound" by creating a distinctive-sounding, sophisticated disco mix.

Moulton wanted to make longer songs, so that he could take a crowd of dancers at a club to another level and keep them dancing longer.

They cut the next single on a 12" disc, the same format as a standard album. Moulton and Rodriguez discovered that these larger records could have much longer songs and remixes.

Twelve-inch records, even for singles, fast became the standard format for all DJs of the disco genre. Because record sales were often dependent on dance floor play by DJs in leading nightclubs, DJs were also important to the development and popularization of disco music.

By selecting and playing disco songs, DJs helped to make certain songs more or less popular. DJs not only played songs in clubs; they also remixed, looped and live-mixed these songs from the DJ booth, changing the ways songs sounded.

For example, a DJ might use the intro or bassline from a popular disco track and beatmatch and layer the vocals from a second song over top.

As well, some DJs were also record producers who created and produced disco songs in the recording studio.

Larry Levan , for example, is as well known for his prolific record producer work as for his contributions as a DJ.

By the late s most major US cities had thriving disco club scenes, but the largest scenes were in San Francisco , Miami , and most notably New York City.

The scene was centered on discotheques , nightclubs, and private loft parties where DJs would play disco tracks from discs and records through PA systems for the patrons who came to dance.

Powerful, bass-heavy, hi-fi sound systems were viewed as a key part of the disco club experience. This club played a major formative role in the growth of disco music and nightclub culture in general.

The Copacabana , another New York nightclub dating to the s, had a revival in the late s when it embraced disco; it would become the setting of a Barry Manilow song of the same name.

In the early years, dancers in discos danced in a "hang loose" or "freestyle" approach. At first, many dancers improvised their own dance styles and dance steps.

Later in the disco era, popular dance styles were developed, including the "Bump", "Penguin", "Boogaloo", "Watergate" and the "Robot". By October The Hustle reigned.

It was highly stylized, sophisticated and overtly sexual. During the disco era, many nightclubs would commonly host disco dance competitions or offer free dance lessons.

Some cities had disco dance instructors or dance schools, which taught people how to do popular disco dances such as "touch dancing , "the hustle , and the cha cha.

The pioneer of disco dance instruction was Karen Lustgarten in San Francisco in Her book The Complete Guide to Disco Dancing Warner Books, was the first to name, break down and codify popular disco dances as dance forms and distinguish between disco freestyle, partner and line dances.

The dynamic dance duo of Robin and Reggie led the show. The pair spent the week teaching disco dancing to dancers in the disco clubs.

The instructional show which aired on Saturday mornings had a following of dancers who would stay up all night on Fridays so they could be on the set the next morning, ready to return to the disco on Saturday night knowing with the latest personalized dance steps.

The producers of the show, John Reid and Greg Roselli, routinely made appearances at disco functions with Robin and Reggie to scout out new dancing talent and promote upcoming events such as "Disco Night at White Sox Park".

Some notable professional dance troupes of the s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for s disco dancing was the film Saturday Night Fever Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever Disco fashions were very trendy in the late s.

Some women would wear sheer, flowing dresses, such as Halston dresses or loose, flared pants. Other women wore tight, revealing, sexy clothes, such as backless halter tops , "hot pants" or body-hugging spandex bodywear or "catsuits".

Men often wore Pierre Cardin suits, three piece suits with a vest and double-knit polyester shirt jackets with matching trousers known as the leisure suit.

Men's leisure suits were typically form-fitted in some parts of the body, such as the waist and bottom, but the lower part of the pants were flared in a bell bottom style, to permit freedom of movement.

During the disco era, men engaged in elaborate grooming rituals and spent time choosing fashion clothing, both activities that would have been considered "feminine" according to the gender stereotypes of the era.

Platform shoes and boots for both genders and high heels for women were popular footwear. Less commonly, some disco dancers wore outlandish costumes, dressed in drag , covered their bodies with gold or silver paint, or wore very skimpy outfits leaving them nearly nude; these uncommon get-ups were more likely to be seen at invitation-only New York City loft parties and disco clubs.

In addition to the dance and fashion aspects of the disco club scene, there was also a thriving club drug subculture , particularly for drugs that would enhance the experience of dancing to the loud, bass-heavy music and the flashing colored lights, such as cocaine [76] nicknamed "blow" , amyl nitrite " poppers ", [77] and the " Paul Gootenberg states that "[t]he relationship of cocaine to s disco culture cannot be stressed enough While the dance floor was the central arena of seduction , actual sex usually took place in the nether regions of the disco: In other cases the disco became a kind of 'main course' in a hedonist's menu for a night out.

Famous disco bars included the Paradise Garage and Crisco Disco as well as " Studio 54 was notorious for the hedonism that went on within; the balconies were known for sexual encounters , and drug use was rampant.

Its dance floor was decorated with an image of the " Man in the Moon " that included an animated cocaine spoon.

The transition from the lates disco styles to the earlys dance styles was marked primarily by the change from complex arrangements performed by large ensembles of studio session musicians including a horn section and an orchestral string section , to a leaner sound, in which one or two singers would perform to the accompaniment of synthesizer keyboards and drum machines.

In addition, dance music during the —83 period borrowed elements from blues and jazz , creating a style different from the disco of the s.

Examples of earlys' dance sound performers include D. Train , Kashif , and Patrice Rushen. Some of these influences had already begun to emerge during the mids, at the height of disco's popularity.

During the first years of the s, the disco sound began to be phased out, and faster tempos and synthesized effects, accompanied by guitar and simplified backgrounds, moved dance music toward the funk and pop genres.

This trend can be seen in singer Billy Ocean 's recordings between and Whereas Ocean's song American Hearts was backed with an orchestral arrangement played by the Los Angeles Symphony Orchestra, his song "One of Those Nights Feel Like Gettin' Down " had a more bare, stripped-down sound, with no orchestration or symphonic arrangements.

This drift from the original disco sound is called post-disco. In this music scene there are rooted subgenres, such as Italo disco , techno , house , dance-pop , boogie , and early alternative dance.

During the s, many TV theme songs were produced or older themes updated with disco influenced music. The British science fiction program Space: The rising popularity of disco came in tandem with developments in the role of the DJ.

DJing developed from the use of multiple record turntables and DJ mixers to create a continuous, seamless mix of songs, with one song transitioning to another with no break in the music to interrupt the dancing.

The resulting DJ mix differed from previous forms of dance music in the s, which were oriented towards live performances by musicians.

This in turn affected the arrangement of dance music, since songs in the disco era typically contained beginnings and endings marked by a simple beat or riff that could be easily used to transition to a new song.

The development of DJing was also influenced by new turntablism techniques, such as beatmatching , a process facilitated by the introduction of new turntable technologies such as the Technics SL MK 2 , first sold in , which had a precise variable pitch control and a direct drive motor.

DJs were often avid record collectors, who would hunt through used record stores for obscure soul records and vintage funk recordings.

DJs helped to introduce rare records and new artists to club audiences. Levan, for example, developed a cult following among club-goers, who referred to his DJ sets as " Saturday Mass ".

Some DJs would use reel to reel tape recorders to make remixes and tape edits of songs. Some DJs who were making remixes made the transition from the DJ booth to becoming a record producer , notably Burgess.

Scott developed several innovations. He was the first disco DJ to use three turntables as sound sources, the first to simultaneously play two beat matched records, the first user of electronic effects units in his mixes and an innovator in mixing dialogue in from well-known movies into his mixes, typically over a percussion break.

Instead, with increased agency and visibility, the DJ was now able to use his own technical and creative skills to whip up a nightly special of innovative mixes, refining his personal sound and aesthetic, and building his own reputation.

Known as the first DJ to create a take his audience on a narrative, musical journey, Grasso discovered that music could effectively shift the energy of the crowd, and even more, that he had all this power at his fingertips.

About five years after the disco era came to a close in the late s, rave culture began to emerge from the acid house scene.

Although disco culture started out underground, it eventually thrived in the mainstream by the late s, and major labels commodified and packaged the music for mass consumption.

In contrast, the rave culture started out underground and stayed underground. In part this was to avoid the animosity that was still surrounding disco and dance music.

The rave scene also stayed underground to avoid law enforcement attention that was directed at the rave culture due to its use of secret, unauthorized warehouses for some dance events and its association with illegal club drugs like Ecstasy.

The disco sound had a strong influence on early hip hop. Most of the early hip hop songs were created by isolating existing disco bass-guitar lines and dubbing over them with MC rhymes.

The Sugarhill Gang used Chic 's " Good Times " as the foundation for their song " Rapper's Delight ", generally considered to be the song that first popularized rap music in the United States and around the world.

House music is a genre of electronic dance music that originated in Chicago in the early s. It was initially popularized in Chicago, circa House music quickly spread to other American cities such as Detroit, New York City, and Newark — all of which developed their own regional scenes.

In the mid- to late s, house music became popular in Europe as well as major cities in South America, and Australia.

Since the early to mids, house music has been infused in mainstream pop and dance music worldwide. Early house music was generally dance-based music characterized by repetitive four on the floor beats, rhythms mainly provided by drum machines , [91] off-beat hi-hat cymbals, and synthesized basslines.

While house displayed several characteristics similar to disco music, it was more electronic and minimalist, [91] and the repetitive rhythm of house was more important than the song itself.

As well, house did not use the lush string sections that were a key part of the disco sound. House music in the s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalist microhouse.

House music has also fused with several other genres creating fusion subgenres, [91] such as euro house , tech house , electro house and jump house.

The post-punk movement that originated in the late s both supported punk rock 's rule breaking while rejecting its move back to raw rock music.

No wave was a subgenre of post-punk centered in New York City. In the early s the dance-punk new rave in the United Kingdom emerged as a part of a broader post punk revival.

It fused elements of punk-related rock with different forms of dance music including disco. Nu-disco is a 21st-century dance music genre associated with the renewed interest in s and early s disco, [98] mids Italo disco, and the synthesizer-heavy Euro disco aesthetics.

It is also used to describe the music on several American labels that were previously associated with the genres electroclash and French house.

From Wikipedia, the free encyclopedia. Redirected from Disco funk. This article is about the music genre. Det hela kulminerade med evenemanget " Disco Demolition Night " 12 juli i Chicago där en anti-disco-demonstration urartade i upplopp.

Under talet växte hiphopen upp som en feströrelse där de rappade till just discomusik-bakgrunder. Under talet tog discomusiken ny form och blev mer synthbaserad.

Denna discobaserade house har även influerat popen, bland annat Alcazar och Kylie Minogue. Det producerades aldrig speciellt mycket disco i Sverige.

För andra betydelser, se Disco olika betydelser. Artiklar som behöver fler källor Alla artiklar som behöver fler källor Alla artiklar som behöver källor Artiklar som behöver förtydligas Artiklar som behöver förtydligas-samtliga.

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Sidan redigerades senast den 12 september kl.

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Record producer Giorgio Moroder 's soundtracks to American Gigolo , Flashdance and Scarface which also had a heavy disco influence proved that the style was still very much embraced.

Queen 's album, Hot Space was inspired by the genre as well. In the s, disco and its legacy became more accepted by music artists and listeners alike, as more songs and films were released that referenced disco.

In the early s, an updated genre of disco called "nu-disco" began breaking into the mainstream. The song's disco influence, which appears on Know Your Enemy , was described as being "much-discussed".

A Man After Midnight ". In addition to her disco-influenced attire to award shows and interviews, her Confessions Tour also incorporated various elements of the s, such as disco balls, a mirrored stage design, and the roller derby.

The success of the "nu-disco" revival of the early s was described by music critic Tom Ewing as more interpersonal than the pop music of the s: Disco was a music of mutual attraction: Its dancefloor is a space for immediate pleasure, but also for promises kept and otherwise.

All of s great disco number ones explore how to play this hand. Madison Avenue look to impose their will upon it, to set terms and roles.

Spiller is less rigid. In , several s-style disco and funk songs charted, and the pop charts had more dance songs than at any other point since the late s.

In addition, Arcade Fire 's Reflektor featured strong disco elements. In , disco songs or disco-styled pop songs are showing a strong presence on the music charts as a possible backlash to the s-styled synthpop, electro house and dubstep that have been dominating the current charts.

Justin Timberlake's song " Can't Stop the Feeling! The Martian , a film, extensively uses disco music as a soundtrack, although for the main character, astronaut Mark Watney, there's only one thing worse than being stranded on Mars: Diana Ross was one of the first Motown artists to embrace the disco sound with her successful outing " Love Hangover " from her self-titled album.

At the request of Motown that he produce songs in the disco genre, Marvin Gaye released " Got to Give It Up " in , despite his dislike of disco.

He vowed not to record any songs in the genre, and actually wrote the song as a parody. Stevie Wonder released the disco single " Sir Duke " in as a tribute to Duke Ellington , the influential jazz legend who had died in It contained the disco single " Baby That's Backatcha ".

Other Motown artists who scored disco hits include: Several of Motown's solo artists who left the label went on to have successful disco songs.

Mary Wells , Motown's first female superstar with her signature song " My Guy " written by Smokey Robinson , abruptly left the label in She briefly reappeared on the charts with the disco song "Gigolo" in Jimmy Ruffin , the elder brother of the Temptations lead singer David Ruffin , was also signed to Motown, and released his most successful and well-known song " What Becomes of the Brokenhearted " as a single in Ruffin eventually left the record label in the mids, but saw success with the disco song " Hold On To My Love ", which was written and produced by Robin Gibb of the Bee Gees , for his album Sunrise.

Edwin Starr , known for his Motown protest song " War " , reentered the charts in with a pair of disco songs, " Contact " and " H. The song was intended as an affectionate disco-style pastiche of the Motown sound, in particular the various duets recorded by Marvin Gaye with Tammi Terrell and Kim Weston.

Many Motown groups who had left the record label charted with disco songs. Michael Jackson was the lead singer of the Jackson 5 , one of Motown's premier acts in the early s.

They left the record company in Jermaine Jackson , however, remained with the label after successful songs like " I Want You Back " and " ABC " , and even the disco song " Dancing Machine " The Detroit Spinners were also signed to the Motown label and saw success with the Stevie Wonder-produced song " It's a Shame " in They left soon after, on the advice of fellow Detroit native Aretha Franklin , to Atlantic Records , and there had disco songs like " The Rubberband Man " However, one single, "The Night" , was released in Britain in , and thanks to popularity from the Northern Soul circuit, reached number seven on the UK Singles Chart.

Norman Whitfield was a producer at Motown, renowned for creating innovative " psychedelic soul " songs. The genre later developed into funk , and from there into disco.

The Undisputed Truth , a Motown recording act assembled by Whitfield to experiment with his psychedelic soul production techniques, found success with their song " Smiling Faces Sometimes ".

In , singer, songwriter and producer Willie Hutch signed with Whitfield's new label. He had been signed to Motown since , scored a successful disco single with his song "In and Out".

The group Rose Royce produced the album soundtrack to the film Car Wash , which contained the commercially successful song of the same name.

Singer Stacy Lattisaw signed with Motown after achieving success in the disco genre. In addition, her first ever single, back in , was a disco cover of " When You're Young and in Love ", which was most famously recorded by Motown female group the Marvelettes in Additionally, the debut single of Shalamar , the group originally created as a disco-driven vehicle by Soul Train creator Don Cornelius , was " Uptown Festival " , a medley of 10 classic Motown songs sung over a s disco beat.

As disco's popularity sharply declined in the United States, abandoned by major U. The German group Kraftwerk also had an influence on Euro disco.

This Swedish quartet, which sang in English, found success with singles such as " Waterloo " , " Fernando " , " Take a Chance on Me " , " Gimme!

A Man After Midnight " , and their signature smash " Dancing Queen " —ranks as the eighth best-selling act of all time. Dalida successfully adjusted herself to disco era and released at least a dozen of songs that charted among top number 10 in whole Europe and wider.

Her greatest international single was "Tanti Auguri" "Best Wishes" , which has become a popular song with gay audiences. The song is also known under its Spanish title "Para hacer bien el amor hay que venir al sur" which refers to Southern Europe, since the song was recorded and taped in Spain.

The Estonian version of the song "Jätke võtmed väljapoole" was performed by Anne Veski. It was her only entry to the UK Singles Chart , reaching number 9, where she remains a one-hit wonder.

The song charted in different European countries. The music typically layered soaring, often- reverberated vocals, often doubled by horns, over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar.

Synthesizers are also fairly common in disco, especially in the late s. The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as harp , violin , viola , cello , trumpet , saxophone , trombone , clarinet , flugelhorn , French horn , tuba , English horn , oboe , flute sometimes especially the alto flute and occasionally bass flute , piccolo , timpani and synth strings , string section or a full string orchestra.

Most disco songs have a steady four-on-the-floor beat, a quaver or semi-quaver hi-hat pattern with an open hi-hat on the off-beat, and a heavy, syncopated bass line.

Other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are also found in disco recordings, and Latin polyrhythms , such as a rhumba beat layered over a merengue, are commonplace.

The quaver pattern is often supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present.

Songs often use syncopation , which is the accenting of unexpected beats. Disco is further characterized by a 16th note division of the quarter notes as shown in the second drum pattern below, after a typical rock drum pattern.

The orchestral sound usually known as "disco sound" relies heavily on string sections and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression.

Typically, all of the doubling of parts and use of additional instruments creates a rich " wall of sound ". There are, however, more minimalist flavors of disco with reduced, transparent instrumentation, pioneered by Chic.

In , Giorgio Moroder again became responsible for a development in disco. It became the first well-known disco song to have a completely synthesized backing track.

The song is still considered to have been well ahead of its time. Other disco producers, most famously Tom Moulton , grabbed ideas and techniques from dub music which came with the increased Jamaican migration to New York City in the s to provide alternatives to the "four on the floor" style that dominated.

DJ Larry Levan utilized styles from dub and jazz and remixing techniques to create early versions of house music that sparked the genre.

The "disco sound" was much more costly to produce than many of the other popular music genres from the s. Unlike the simpler, four-piece band sound of the funk , soul of the late s, or the small jazz organ trios , disco music often included a large pop band, with several chordal instruments guitar, keyboards, synthesizer , several drum or percussion instruments drumkit, Latin percussion, electronic drums , a horn section , a string orchestra , and a variety of "classical" solo instruments for example, flute, piccolo, and so on.

Disco songs were arranged and composed by experienced arrangers and orchestrators , and record producers added their creative touches to the overall sound using multitrack recording techniques and effects units.

Recording complex arrangements with such a large number of instruments and sections required a team that included a conductor , copyists , record producers , and mixing engineers.

Mixing engineers had an important role in the disco production process, because disco songs used as many as 64 tracks of vocals and instruments.

Mixing engineers and record producers, under the direction of arrangers, compiled these tracks into a fluid composition of verses, bridges, and refrains, complete with orchestral builds and breaks.

Mixing engineers and record producers helped to develop the "disco sound" by creating a distinctive-sounding, sophisticated disco mix. Moulton wanted to make longer songs, so that he could take a crowd of dancers at a club to another level and keep them dancing longer.

They cut the next single on a 12" disc, the same format as a standard album. Moulton and Rodriguez discovered that these larger records could have much longer songs and remixes.

Twelve-inch records, even for singles, fast became the standard format for all DJs of the disco genre.

Because record sales were often dependent on dance floor play by DJs in leading nightclubs, DJs were also important to the development and popularization of disco music.

By selecting and playing disco songs, DJs helped to make certain songs more or less popular. DJs not only played songs in clubs; they also remixed, looped and live-mixed these songs from the DJ booth, changing the ways songs sounded.

For example, a DJ might use the intro or bassline from a popular disco track and beatmatch and layer the vocals from a second song over top.

As well, some DJs were also record producers who created and produced disco songs in the recording studio. Larry Levan , for example, is as well known for his prolific record producer work as for his contributions as a DJ.

By the late s most major US cities had thriving disco club scenes, but the largest scenes were in San Francisco , Miami , and most notably New York City.

The scene was centered on discotheques , nightclubs, and private loft parties where DJs would play disco tracks from discs and records through PA systems for the patrons who came to dance.

Powerful, bass-heavy, hi-fi sound systems were viewed as a key part of the disco club experience. This club played a major formative role in the growth of disco music and nightclub culture in general.

The Copacabana , another New York nightclub dating to the s, had a revival in the late s when it embraced disco; it would become the setting of a Barry Manilow song of the same name.

In the early years, dancers in discos danced in a "hang loose" or "freestyle" approach. At first, many dancers improvised their own dance styles and dance steps.

Later in the disco era, popular dance styles were developed, including the "Bump", "Penguin", "Boogaloo", "Watergate" and the "Robot".

By October The Hustle reigned. It was highly stylized, sophisticated and overtly sexual. During the disco era, many nightclubs would commonly host disco dance competitions or offer free dance lessons.

Some cities had disco dance instructors or dance schools, which taught people how to do popular disco dances such as "touch dancing , "the hustle , and the cha cha.

The pioneer of disco dance instruction was Karen Lustgarten in San Francisco in Her book The Complete Guide to Disco Dancing Warner Books, was the first to name, break down and codify popular disco dances as dance forms and distinguish between disco freestyle, partner and line dances.

The dynamic dance duo of Robin and Reggie led the show. The pair spent the week teaching disco dancing to dancers in the disco clubs. The instructional show which aired on Saturday mornings had a following of dancers who would stay up all night on Fridays so they could be on the set the next morning, ready to return to the disco on Saturday night knowing with the latest personalized dance steps.

The producers of the show, John Reid and Greg Roselli, routinely made appearances at disco functions with Robin and Reggie to scout out new dancing talent and promote upcoming events such as "Disco Night at White Sox Park".

Some notable professional dance troupes of the s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for s disco dancing was the film Saturday Night Fever Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever Disco fashions were very trendy in the late s.

Some women would wear sheer, flowing dresses, such as Halston dresses or loose, flared pants. Other women wore tight, revealing, sexy clothes, such as backless halter tops , "hot pants" or body-hugging spandex bodywear or "catsuits".

Men often wore Pierre Cardin suits, three piece suits with a vest and double-knit polyester shirt jackets with matching trousers known as the leisure suit.

Men's leisure suits were typically form-fitted in some parts of the body, such as the waist and bottom, but the lower part of the pants were flared in a bell bottom style, to permit freedom of movement.

During the disco era, men engaged in elaborate grooming rituals and spent time choosing fashion clothing, both activities that would have been considered "feminine" according to the gender stereotypes of the era.

Platform shoes and boots for both genders and high heels for women were popular footwear. Less commonly, some disco dancers wore outlandish costumes, dressed in drag , covered their bodies with gold or silver paint, or wore very skimpy outfits leaving them nearly nude; these uncommon get-ups were more likely to be seen at invitation-only New York City loft parties and disco clubs.

In addition to the dance and fashion aspects of the disco club scene, there was also a thriving club drug subculture , particularly for drugs that would enhance the experience of dancing to the loud, bass-heavy music and the flashing colored lights, such as cocaine [76] nicknamed "blow" , amyl nitrite " poppers ", [77] and the " Paul Gootenberg states that "[t]he relationship of cocaine to s disco culture cannot be stressed enough While the dance floor was the central arena of seduction , actual sex usually took place in the nether regions of the disco: In other cases the disco became a kind of 'main course' in a hedonist's menu for a night out.

Famous disco bars included the Paradise Garage and Crisco Disco as well as " Studio 54 was notorious for the hedonism that went on within; the balconies were known for sexual encounters , and drug use was rampant.

Its dance floor was decorated with an image of the " Man in the Moon " that included an animated cocaine spoon. The transition from the lates disco styles to the earlys dance styles was marked primarily by the change from complex arrangements performed by large ensembles of studio session musicians including a horn section and an orchestral string section , to a leaner sound, in which one or two singers would perform to the accompaniment of synthesizer keyboards and drum machines.

In addition, dance music during the —83 period borrowed elements from blues and jazz , creating a style different from the disco of the s.

Examples of earlys' dance sound performers include D. Train , Kashif , and Patrice Rushen. Some of these influences had already begun to emerge during the mids, at the height of disco's popularity.

During the first years of the s, the disco sound began to be phased out, and faster tempos and synthesized effects, accompanied by guitar and simplified backgrounds, moved dance music toward the funk and pop genres.

This trend can be seen in singer Billy Ocean 's recordings between and Whereas Ocean's song American Hearts was backed with an orchestral arrangement played by the Los Angeles Symphony Orchestra, his song "One of Those Nights Feel Like Gettin' Down " had a more bare, stripped-down sound, with no orchestration or symphonic arrangements.

This drift from the original disco sound is called post-disco. In this music scene there are rooted subgenres, such as Italo disco , techno , house , dance-pop , boogie , and early alternative dance.

During the s, many TV theme songs were produced or older themes updated with disco influenced music. The British science fiction program Space: The rising popularity of disco came in tandem with developments in the role of the DJ.

DJing developed from the use of multiple record turntables and DJ mixers to create a continuous, seamless mix of songs, with one song transitioning to another with no break in the music to interrupt the dancing.

The resulting DJ mix differed from previous forms of dance music in the s, which were oriented towards live performances by musicians.

This in turn affected the arrangement of dance music, since songs in the disco era typically contained beginnings and endings marked by a simple beat or riff that could be easily used to transition to a new song.

The development of DJing was also influenced by new turntablism techniques, such as beatmatching , a process facilitated by the introduction of new turntable technologies such as the Technics SL MK 2 , first sold in , which had a precise variable pitch control and a direct drive motor.

DJs were often avid record collectors, who would hunt through used record stores for obscure soul records and vintage funk recordings.

DJs helped to introduce rare records and new artists to club audiences. Levan, for example, developed a cult following among club-goers, who referred to his DJ sets as " Saturday Mass ".

Some DJs would use reel to reel tape recorders to make remixes and tape edits of songs. Some DJs who were making remixes made the transition from the DJ booth to becoming a record producer , notably Burgess.

Scott developed several innovations. He was the first disco DJ to use three turntables as sound sources, the first to simultaneously play two beat matched records, the first user of electronic effects units in his mixes and an innovator in mixing dialogue in from well-known movies into his mixes, typically over a percussion break.

Instead, with increased agency and visibility, the DJ was now able to use his own technical and creative skills to whip up a nightly special of innovative mixes, refining his personal sound and aesthetic, and building his own reputation.

Known as the first DJ to create a take his audience on a narrative, musical journey, Grasso discovered that music could effectively shift the energy of the crowd, and even more, that he had all this power at his fingertips.

About five years after the disco era came to a close in the late s, rave culture began to emerge from the acid house scene.

Although disco culture started out underground, it eventually thrived in the mainstream by the late s, and major labels commodified and packaged the music for mass consumption.

In contrast, the rave culture started out underground and stayed underground. In part this was to avoid the animosity that was still surrounding disco and dance music.

The rave scene also stayed underground to avoid law enforcement attention that was directed at the rave culture due to its use of secret, unauthorized warehouses for some dance events and its association with illegal club drugs like Ecstasy.

The disco sound had a strong influence on early hip hop. Most of the early hip hop songs were created by isolating existing disco bass-guitar lines and dubbing over them with MC rhymes.

The Sugarhill Gang used Chic 's " Good Times " as the foundation for their song " Rapper's Delight ", generally considered to be the song that first popularized rap music in the United States and around the world.

House music is a genre of electronic dance music that originated in Chicago in the early s. It was initially popularized in Chicago, circa House music quickly spread to other American cities such as Detroit, New York City, and Newark — all of which developed their own regional scenes.

In the mid- to late s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mids, house music has been infused in mainstream pop and dance music worldwide.

Early house music was generally dance-based music characterized by repetitive four on the floor beats, rhythms mainly provided by drum machines , [91] off-beat hi-hat cymbals, and synthesized basslines.

While house displayed several characteristics similar to disco music, it was more electronic and minimalist, [91] and the repetitive rhythm of house was more important than the song itself.

As well, house did not use the lush string sections that were a key part of the disco sound. House music in the s, while keeping several of these core elements, notably the prominent kick drum on every beat, varies widely in style and influence, ranging from the soulful and atmospheric deep house to the more minimalist microhouse.

House music has also fused with several other genres creating fusion subgenres, [91] such as euro house , tech house , electro house and jump house.

The post-punk movement that originated in the late s both supported punk rock 's rule breaking while rejecting its move back to raw rock music.

No wave was a subgenre of post-punk centered in New York City. In the early s the dance-punk new rave in the United Kingdom emerged as a part of a broader post punk revival.

It fused elements of punk-related rock with different forms of dance music including disco. Nu-disco is a 21st-century dance music genre associated with the renewed interest in s and early s disco, [98] mids Italo disco, and the synthesizer-heavy Euro disco aesthetics.

It is also used to describe the music on several American labels that were previously associated with the genres electroclash and French house.

From Wikipedia, the free encyclopedia. Redirected from Disco funk. This article is about the music genre. For the entertainment venue, see nightclub.

For the modern style of music, see Nu-disco. For other uses, see Disco disambiguation. Singing electric guitar bass guitar keyboard synthesizer drums drum machine percussion instrument string section horn section orchestra.

Philippines Europe Poland Italy. Biddu — "Kung Fu Fighting" The Original Movie Sound Track , the best-selling soundtrack album of all time.

Blondie — "Heart of Glass" Blondie 's " Heart of Glass " combined disco with new wave music , utilizing a Roland CR drum machine.

Donna Summer — "I Feel Love" Post-disco and Electronic dance music. Hip hop music and Electro music. The Rise and Fall of Disco", Macmillan, Remarkably, almost all of the important early DJs were of Italian extraction Italian Americans have played a significant role in America's dance music culture While Italian Americans mostly from Brooklyn largely created disco from scratch The Secret History of Disco".

Retrieved October 27, — via Google Books. Det producerades aldrig speciellt mycket disco i Sverige. För andra betydelser, se Disco olika betydelser.

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