Post-disco  

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While disco music was in its heyday, the horn and string sections were a main component of disco and pop songs. This sound is also called disco orchestration. However, some of the musicians and producers dropped the lavish sound of orchestra completely, which attributed a new direction of dance music.

• Few international examples, including French music project Black Devil Disco Club, French musician Cerrone and Belgian group Telex.
• Parliament-Funkadelic in the United States. They are known for heavily use of bass and "regular" synthesizers and inventing the P-Funk style.

After the success of Quincy Jones-produced album Off the Wall and other semi-mainstream urban-oriented music groups like Lakeside, other disco music groups either dissolved or adapted the new sounds (e.g. The Whispers, The SOS Band, Inner Life, Earth, Wind & Fire, and Shalamar in the U.S.; Nick Straker Band, and Freeez in UK). Other musicians influenced by post-disco include Stacy Lattisaw, Kurtis Blow, and George Duke.

• Music producers who were experimenting with the new sounds include:
  • Leroy Burgess and Patrick Adams, who also worked together as The Universal Robot Band
  • Kashif, who produced material for Evelyn "Champagne" King (albums from I'm in Love to Get Loose) and Melba Moore.
• Remixers, DJs and other personalities influential on post-disco include Nick Martinelli, Ron Hardy and Larry Levan.

Golden age post-disco era, where post-disco sound entered mainstream. However most of the musicians were mostly successful on the other charts, beside Billboard Hot 100.

This era also spanned experimental No Wave-oriented post-disco acts like Material, Liquid Liquid, Dinosaur L and Was (Not Was).

The most significant post-disco album is Michael Jackson's Thriller, which also became the most best-selling album of all time. Larry Levan and the NYC Peech Boys recorded proto-house number "Don't Make Me Wait". New bands and musicians of the era appeared, including Imagination, D. Train, Skyy, Aurra, Komiko, Vicky D, Rockers Revenge, Dayton, and Unlimited Touch.

• Artists influenced by post-disco include
  • U.S.: Mtume, B. B. & Q. Band, Bobby Orlando, Patrice Rushen, Cheryl Lynn, and Indeep.
  • UK: Shakatak, Central Line, Chas Jankel, and Level 42.
  • International: The Limit, Klein + M.B.O., and Kano.

During this era, post-disco was at its highest peak. Meanwhile Madonna's commercially successful debut album was released, which was produced by Reggie Lucas of Mtume and Jellybean, another producers of this movement.

It also began to interfere with garage house and freestyle music, thus successfully shaping post-disco into electro. This change could be also heard in breakdancing- and hip-hop -themed movies like Beat Street and Breakin'.

• New and influenced musicians include Class Action, Instant Funk, The Deele, Shannon, The Jammers, and Up Front.
• Music personalities include François Kevorkian, Arthur Baker, Shep Pettibone, John "Jellybean" Benitez, Frankie Knuckles.

During this era, post-disco had been dissolved in various music fields and scenes, including

• a dance-oriented pop music known as dance-pop
• techno and house music.

As the post-disco reached its climax, overdubbing techniques as recorded by Peech Boys and other early-1980s artists were almost omitted by then and replaced by synthpop variants instead. The movement survived as a post-disco–freestyle crossover music that spanned Raww, Hanson & Davis, Timex Social Club, Starpoint and Miami Sound Machine.