Themes Disco Fever

Dance Fever 7" Plates	Dance Fever 9" Plates	Dance Fever Luncheon	Dance Fever Beverage	Dance Fever 9oz Cups	Dance Fever Tablecover
Dance Fever Invites	Dance Fever Centerpiece	Disco Fever 10.5" Plates	Disco Fever 7" Plates	Disco Fever Luncheon	Disco Fever Beverage
Disco Fever Tablecover	Disco Fever 9oz Cups	Purple Boot Cup	Silver Forks	Silver Knives	Silver Spoons
20" Disco Ball W/ Base	12" Disco Ball With Base	8" Disco Ball With Base	2" Mirror Ball On Chain	1.5" Mirror Ball	4" Disco Ball
Silver Star Centerpiece	Disco Bead Curtain	Disco Sparkle Room Roll	Disco Boogie Room Roll	Disco Fever Border Roll	Disco Party Game
Dance Fever Decoration	5' Disco Dancers	Disco Birthday Border	5' Disco Music Add-ons	Disco Dancers Room Roll	Disco Dance Signs
30" Disco Balls Add-ons	Silver & Gold Stars	Silver 7' Shimmer Column	Silver Star Door Curtain	Disco Cd	Live 70's Disco Party Cd

Disco is a genre of dance-oriented pop music that blends elements of flute and trend music that was first popularized in dance clubs (discothèques) in the mid-1970s. Disco songs dominated mainstream pop until the late 1970s. Disco songs usually have soaring, often reverberated vocals over a steady four-on-the-floor beat, an eighth note (quaver) or sixteenth note (semi-quaver) hi-hat pattern with an open hi-hat on the off-beat, and a prominent, syncopated electric bass line. Strings, horns, electric pianos, and electric guitars create a lush background sound, and orchestral instruments are used for solo melodies (unlike rock, lead guitar is rarely used)

Major mid-1970s disco performers included Donna Summer, Boney M., The Jackson 5, Barry White, The Bee Gees,Village people and ABBA. Many non-disco artists recorded disco songs at the height of its popularity. Films such as Saturday Night Fever and Thank God It's Friday contributed to disco's rise in mainstream popularity. While disco music declined in popularity in the early 1980s, it was an important influence on the development of the 1980s and 1990s electric dance music genres of house and techno.

Origins

Late 1960s soul
Jerry Butler’s 1969 "Only the Strong Survive"[1] may be the first instance of the combined musical elements which would later become disco music. This song brings together Philly and New York soul, both evolutions of the Motown sound. The Philly Sound is typified by lavish percussion. Manu Dibango's 1972 "Soul Makossa" is considered one of the early disco songs. However, the term disco was not coined until an article by Vince Aletti in the September 13th 1973 edition of Rolling Stone Magazine titled "Discotheque Rock '72: Paaaaarty!"[2]

"Disco" began to sneak in in the late '60s, with "Tighten Up" and "Mony, Mony," "Dance to the Music," "Love Child" and the culmination of the Temptations / Motown / Supremes conquest of the world's dancefloors with irresistiblly danceable playlists.

The early "disco" sound was an import from Europe, where economics precluded popular dance clubs from booking live artists, hence DJs spinning vinyl instead. "Discotheque" sounded just "foreign" enough to catch on as something sophisticated in America in the late-60s / early-70s, where it was immediately accepted and joyously promoted by gay male dance audiences, reaching its pinnacle with Donna Summer's quintessential disco album streak, produced by the brilliant Giorgio Moroder.

"Disco" lasted from the early '70s to mid-'90's, or slightly longer than the "Big Band" era from the mid-30s to early-50s. Thirty years after "Disco" began, gay clubs internationally "Vogued" to Madonna.

"Disco," arguably, has a far more pervasive influence on all succeeding pop-music, including Hip-Hop and Rap, than "Big Band," or even the Beatles.

First chart-topping songs
The Hues Corporation's 1974 "Rock The Boat," a U.S. #1 single and million-seller, was one of the early disco songs to hit #1. Other chart-topping songs included "Love's Theme" by Barry White's Love Unlimited Orchestra, a chart-topper from earlier in 1974, to be the first to have achieved that distinction. Also in 1974, Gloria Gaynor released the first side-long disco mix vinyl album, which included a remake of The Jackson 5's "Never Can Say Goodbye" and two other songs.

But it was The Bee Gees who came to be the "face of disco". The group formerly world famous for ballads and pop songs that challenged The Beatles in the late 1960s morphed in a way that was almost unrecognizable to their long time fans. This was not only due to their dramatic change in style, but to their discovery of Barry Gibb's ability to sing in falsetto. Their first # 1 in three years came in 1975 (after a dry spell in which they accepted such jobs as occasionally hosting "The Midnight Special" on American TV), from the "Main Course" album, a disco song called "Jive Talkin'" (the album also including two other big hits, "Nights on Broadway", and "Fanny (Be Tender)". Their follow-up album, "Children of the World" featured many disco songs, including the worldwide smash # 1 hit "You Should Be Dancing". Both "Jive Talkin'" and "You Should Be Dancing" were released again on the "Saturday Night Fever" soundtrack.

In 1975, hits such as Van McCoy's "The Hustle" and Donna Summer's "Love to Love You, Baby" brought disco further into the mainstream. Other notable early disco hits include The Jackson 5’s "Dancing Machine" (1974), Barry White’s "You're the First, the Last, My Everything" (1974), LaBelle’s "Lady Marmalade" (1974), The Four Seasons’ "December, 1963 (Oh, What a Night)" (1975), Silver Convention’s "Fly Robin Fly" (1975), and The Bee Gees’ "Jive Talkin'" (1975). After this, disco's popularity began to increase, peaking between roughly 1976 and 1979 . Films such as Saturday Night Fever and Thank God It's Friday contributed to disco's rise in mainstream popularity.

Disco spread to Europe and Australia with such bands as ABBA, (Australians were among the first in the world to embrace ABBA) which topped worldwide charts from the mid-1970s to the early 1980s. Another influential European pop and disco group was Boney M, a group of four West Indian singers and dancers masterminded by West German record producer Frank Farian. In France, Dalida released "J'attendrai," which became a big hit in Canada and Japan.

Disco club scene
By the late 1970s many major US cities had thriving disco club scenes which were centered around discotheques, nightclubs, and private loft parties where DJs would play disco hits through powerful PA systems for the dancers. The DJs played "... a smooth mix of long single records to keep people “dancing all night long” "[1] Some of the most prestigious clubs had elaborate lighting systems that throbbed to the beat of the music.

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." There were also disco fashions that discotheque-goers wore for nights out at their local disco, such as sheer, flowing Halston dresses for women and shiny polyester Qiana shirts for men with pointy collars, preferably open at the chest, often worn with double-knit suit jackets. Disco clubs and "...hedonistic loft parties" had a club culture which had many African American, gay" [2] and hispanic people.

Drug subculture
In addition to the dance and fashion aspects of the disco club scene, there was also a thriving drug subculture, particularly for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine [3](nicknamed "blow"), amyl nitrite "poppers" [4], and the "...other quintessential 1970s club drug Quaalude, which suspended motor coordination and turned one’s arms and legs to Jell-O."[5] The "[m]assive quantities of drugs ingested in discotheques produced the next cultural phenomenon of the disco era: rampant promiscuity and public sex. While the dance floor was the central arena of seduction, actual sex usually took place in the nether regions of the disco: bathroom stalls, exit stairwells, and so on. In other cases the disco became a kind of “main course” in a hedonist’s menu for a night out."[6]

Famous disco bars included "...cocaine-filled celeb hangouts such as Manhattan's Studio 54 ", which was operated by Steve Rubell and Ian Schrager. 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. Other famous discotheques included the Loft, the Paradise Garage, and Aux Puces, one of the first gay disco bars.

1976-1978: disco becomes mainstream
Many non-disco artists recorded disco songs at the height of its popularity, most often due to demand from record companies who needed a surefire hit. Many of these songs were not "pure" disco, but were instead rock or pop songs with disco overtones. Notable examples include Helen Reddy’s "I Can't Hear You No More" (1976); Marvin Gaye’s "Got to Give It Up" (1977); Barry Manilow’s "Copacabana (At The Copa)" (1978); Chaka Khan’s "I'm Every Woman" (1978); Wings’ "Silly Love Songs" (1976) and "Goodnight Tonight" (1979); Barbra Streisand’s "No More Tears (Enough Is Enough)" (1979); Electric Light Orchestra’s "Last Train to London" and "Shine a Little Love" (1979); and Michael Jackson’s "Don't Stop 'Til You Get Enough," "Rock With You," and "Off the Wall" (1979), from his breakout Off The Wall album. Many disco novelty songs sold well.

In addition, several parodies of the disco style were created, most notably "Disco Duck" and "Dancin' Fool." Rick Dees, at the time a radio DJ in Memphis, Tennessee, recorded "Disco Duck", a popular parody. Frank Zappa famously parodied the lifestyles of disco dancers in "Dancin' Fool" on his Sheik Yerbouti album.

The "disco sound"
The orchestral sound usually known as "disco sound" relies heavily on strings and horns playing either 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" phaser;lead guitar was rarely used in disco songs), bass guitar, piano, string synth, and electroacoustic keyboards (notably the Fender Rhodes piano, Wurlitzer electric piano, and Hohner Clavinet) and drums (including African/Latin percussion, timpani, and a drum kit, and electronic drums such as Simmons and Roland drum modules). The disco rhythm section was fleshed out with a rich variety of orchestral instruments, such as harp, violin, viola, cello, trumpet, saxophone, trombone, clarinet, flugelhorn, French horn, tuba, English horn, oboe, flute, and piccolo.

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. This basic beat would appear to be related to/inspired by the Dominican merengue rhythm; other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are also found in Disco recordings. 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. It often involves syncopation, rarely occurring on the beat unless a synthesizer is used to replace the bass guitar.

Production and development
Unlike the simpler, four-piece band sound of the funk, soul of the late 1960s, 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 (e.g., flute, piccolo, etc.). To be able to incorporate all of these instruments and sections, disco songs were arranged and composed by experienced arrangers and orchestrators.

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 compiled these tracks into a fluid composition of verses, bridges, and refrains, complete with orchestral builds and breaks. Mixing engineers helped to develop the "disco sound" by creating a distinctive-sounding disco mix.

Because record sales were often dependent on floor play in clubs, DJs were also important to the development and popularization of disco music. Notable DJs include Jim Burgess, Walter Gibbons, John "Jellybean" Benitez, Richie Kaczar of Studio 54, Rick Gianatos, Francis Grasso of Sanctuary, Larry Levan, Ian Levine, Neil "Raz" Rasmussen, Mike Pace of L'amour, Preston Powell of Magique, Jennie Costa of Lemontrees, Tee Scott, John Luongo, Robert Ouimet of The Limelight, and David Mancuso.

Format
Singles were initially released on 45s. However, this format was subsequently replaced by the better sound quality and longer length of 12-inch singles.

Motown Records’ "Eye-Cue" label was the first to market 12-inch singles; however, the play time remained the same length as the original 45s. In 1976, Scepter/Wand released the first 12-inch extended-version single, Jesse Green's "Nice and Slow." This single was packaged in a collectible picture sleeve, a relatively new concept at the time. Twelve-inch singles became commercially available after the first crossover, Tavares' "Heaven Must Be Missing an Angel." The 12-inch single format allowed longer dance time and format possibilities.

Decline in popularity
The popularity of the film Saturday Night Fever prompted major record labels to mass-produce hits, a move which some perceived as turning the genre from something vital and edgy into a safe "product" homogenized for mainstream audiences. Though disco music had enjoyed several years of popularity, an anti-disco sentiment manifested in America. This sentiment proliferated at the time because of oversaturation and the big business mainstreaming of Disco. Worried about declining profits, rock radio stations and record producers encouraged this trend. According to Gloria Gaynor, among others, the music industry supported the destruction of disco because rock music producers were losing money.[3] Many hard rock fans expressed strong disapproval of disco throughout the height of its popularity. Among these fans, the slogan "Disco Sucks" was common by the late-1970s.

Disco music and dancing fads began to be depicted as silly and effeminate, such as in Frank Zappa's satirical song "Dancin' Fool". Some listeners objected to the perceived sexual promiscuity and illegal drug use (e.g., cocaine and Quaaludes) that had become associated with disco music. Others were put off by the exclusivity of the disco scene, especially in major clubs in large cities, where bouncers only let in fashionably dressed club-goers, celebrities, and their hangers-on. Rock fans objected to the idea of centering music around an electronic drum beat and synthesizers instead of live performers.

To "...fans of rock music", disco was a "direct and intentional challenge to rock’s position." Rock fans believed that "...disco represented all that was synthetic, aristocratic,...fake" and elitist, "...while populist rock stood for all that was earthy and real." Whereas "...[r]ock had been an ongoing celebration of uncontested straight male sexual dominance; disco bypassed hetero men in favor of black women divas, gay male dancers, and virtually any other alternative."[7] White American male hard rock fans who spoke out against the music were sometimes accused of prejudice for objecting to disco's connection to minorities (blacks) and the gay subculture.

To further complicate matters, several prominent hard rock bands recorded songs with disco influences, such as Kiss’ "I Was Made For Lovin' You" (1979) and The Rolling Stones’ "Miss You" (1978). Though these fusions of hard rock and disco were initially met with critical and commercial acclaim, many of the bands were subsequently viewed as "sell-outs". Since the advent of disco and dance music, rock music has absorbed many of the rhythmic sensibilities of funk-influenced dance music, while nevertheless retaining a distinct sound and audience culture.

The emergence of the punk and New Wave scenes contributed to disco's decline. However, unlike in the U.S., there was never a focused backlash against disco in the UK or Europe, and discotheques and club culture continued longer in Europe than in the US.

The following artists produced disco songs:

Earth, Wind and Fire - "September", "Boogie Wonderland", and "Let's Groove"
Rod Stewart - "Do Ya Think I'm Sexy?" and "Passion"
David Byron - "African Breeze"
Olivia Newton-John - "Totally Hot", "Xanadu", "Physical", and "Make a Move on Me"
Bill Withers - "You've Got the Stuff"
Barry Manilow - "It's a Miracle" and "Copacabana"
Queen - "Another One Bites the Dust"
Blondie - "Heart of Glass", "Atomic" and "Rapture"
The Tubes - "Prime Time"
Carly Simon - "Why"
Paul McCartney and Wings - "Goodnight Tonight"
Dead Kennedys - A "Disco Version" of their song "Kill the Poor" can be found on the album "Live at the Deaf Club".
Hank Marvin and The Shadows - "Ghost Riders In The Sky"
Surf Punks - "Surf Instructor"; the band makes an explicit reference to this marketing-driven "cross-over" phenomenon in the intro to this song, where a gruff male voice (perhaps that of a record-company executive) says "We need a goddam disco hit!", to which the lead singer replies "O-kayyy" in time with the opening beat of the song
Mike Oldfield - "Guilty"
Even adult contemporary vocalists produced some disco tracks. Those artists included:

Johnny Mathis - "Gone, Gone, Gone"
Dionne Warwick - "Once You Hit The Road", "His House and Me", "Track of the Cat"
Melissa Manchester "Pretty Girls", "You Should Hear How She Talks About You", "City Nights", "Thief Of Hearts"
Rita Coolidge "One Fine Day"
Paul Anka - "Make It Up to Me Love"
Ann-Margret - "Love Rush", "Midnight Message" and "Everybody Needs Somebody Sometime"
Charo - "Dance a Little Bit Closer" and "The Love Boat Theme"
Frankie Avalon - "Venus", "You're the Miracle", and "Innocent"
Ethel Merman - "There's No Business Like Show Business" - In 1979, Merman released an entire album of disco covers of some of her signature Broadway show tunes. This album is now a collector's item, though it has received mixed reviews from Merman fans.
Wayne Newton - "You Stepped Into My Life"
Barbra Streisand - "The Main Event/Fight" and "No More Tears (Enough Is Enough)" (with Donna Summer)
Eartha Kitt - "Where Is My Man?", "I Don't Care", "Sugar Daddy", "I Love Men"
Andy Williams - "Love Story (Where Do I Begin)"
Frank Sinatra - "All of You"
Engelbert Humperdinck - "I Can't Live a Dream" and "Loving You Too Long"
Many disco novelty songs sold well and were popular. Rick Dees, at the time a radio DJ in Memphis, Tennessee, recorded what is considered to be one of the most popular parodies of all time, "Disco Duck" (His follow-up, "Dis-Gorilla", was not a hit).

Disco's decline
Music historians generally refer to July 12, 1979, as the "day disco died", because of an anti-disco demonstration that was held in Chicago. Rock station DJs Steve Dahl and Garry Meier, along with Michael Veeck, son of Bill Veeck, who was the owner of the Chicago White Sox, staged Disco Demolition Night, a promotional event with an anti-disco theme, between games at a White Sox doubleheader for disgruntled Rock fans. The event, which involved exploding disco records, ended in a riot in which police made numerous arrests. Because of serious damage to the field and stadium, the second game of the doubleheader had to be forfeited.[4]

The anti-disco backlash may have helped to cause changes to the landscape of Top 40 radio. Negative responses from the predominantly white listenerships of many Top 40 stations encouraged these stations to drop all disco songs from rotation, filling the holes in their playlists with New Wave, punk rock, and album-oriented rock cuts.

WLS in Chicago, KFJZ-FM (now KEGL) in Dallas/Fort Worth, and CHUM-AM in Toronto were among the stations that took this approach. Although WLS continued to list some disco tracks, such as "Funkytown" by Lipps Inc., on its record surveys in the early 1980s, it refused to air them. Other stations, for example New York City's WABC, became softer instead of harder, taking an adult contemporary approach that was equally exclusive of dance music but not of black artists who recorded ballads, such as Smokey Robinson and James Ingram. Many of these stations continued to exclude urban music until several years later when MTV began to promote artists such as Michael Jackson and Prince.

However, many all-disco radio stations on the FM dial continued to serve the black community by evolving into urban contemporary formats. KKDA in Dallas/Fort Worth began as a disco station in the late 1970s, then found even greater success after progressing to an urban contemporary format in the early 1980s.

Currently, most radio stations that play dance music or 1970s-era music play disco and related forms such as funk and Philadelphia soul at some point in their playlists; both major satellite radio companies also have disco music stations in their lineup. However, dance music stations in general are not known for having consistantly high ratings in the U.S., in contrast to the large number of popular dance-oriented radio stations in the UK, among other places. Most recently, the most popular dance format radio stations in the U.S. are Dance and Rhythmic Top 40 combination stations that also stream on-line (e.g., WKTU). Other dance music heavy radio stations are non-commercial, listener-sponsored radio stations include WBAI, WMPH, and KNHC, among others.

From "disco sound" to "dance sound"
The transition from the late-1970s disco styles to the early-1980s 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 1981-83 period borrowed elements from blues and jazz, creating a style different from the disco of the 1970s. This emerging music was still known as disco for a short time, as the word had become associated with any kind of dance music played in discothèques. Examples of early 1980s dance sound performers include D. Train, Kashif, and Patrice Rushen. [8]

During the first years of the 1980s, 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 1979 and 1981. Whereas Ocean's 1979 song American Hearts was backed with an orchestral arrangement played by the Los Angeles Symphony Orchestra, his 1981 song One of Those Nights (Feel Like Gettin' Down) had a more bare, stripped-down sound, with no orchestration or symphonic arrangements.

During the early 1980s, dance music dropped the complicated melodic structure and orchestration which typified the "disco sound." Examples of well-known songs which illustrate this difference include Kool & the Gang’s "Celebration" (1980), Rick James’ "Super Freak" (1981), The Weather Girls’ "It's Raining Men" (1982), The Pointer Sisters’ "I'm So Excited" (1982), Prince’s "1999" (1983), Madonna’s "Lucky Star" (1983), Irene Cara’s "Flashdance (What A Feeling)" (1983), Angela Bofill's "Too Tough" (1983), Michael Jackson’s "Thriller" (1984), and the Village People’s "Sex Over The Phone" (1985).

Influence

Early 1980s music
In 1982, Afrika Bambataa released the single "Planet Rock," which incorporated elements from Kraftwerk's "Trans-Europe Express" and "Numbers." The "Planet Rock" sound also spawned a non-hip-hop electronic dance trend, which included such songs as Planet Patrol's "Play At Your Own Risk" (1982), C Bank’s "One More Shot" (1982), Shannon's "Let The Music Play" (1983), Freeez's "I.O.U." (1983), Gwen Guthrie's "Ain't Nothin' Goin' On But The Rent" (1983), Chaka Khan's "I Feel For You" (1983), and Midnight Star's "Freak-A-Zoid" (1983).

House music
An Italian record producer and synthesizer pioneer, Giorgio Moroder, had a number of hit disco singles such as "From Here to Eternity" (1977) which greatly influenced the development of the later electric dance music genres such as house and techno. Both house music and techno which rely on the repetitive bass drum rhythm and hi-hat rhythm patterns introduced by disco.

Early house music, which was developed by innovators such as Larry Levan in New York and Frankie Knuckles in Chicago, consisted of various disco loops overlapped by strong bass beats. House music was usually computer-driven, and longer segments were used for mixing. Clubs associated with the birth of house music include New York's Paradise Garage and Chicago's The Warehouse and The Music Box.

1990s and 2000s "disco revival"
In the 1990s, a revival of the original disco style began to emerge. The disco influence can be heard in songs as U2’s "Lemon" (1993), Gloria Estefan's "Get On Your Feet" (1991), Thelma Houston's "Throw You Down" (1991), Paula Abdul's "Viberology" (1992), Whitney Houston's "I'm Every Woman" (1993), Brand New Heavies’ "Spend Some Time" (1994), M People's "Moving On Up", (1994), Diana Ross's "Take Me Higher" (1995), Rozalla's "You Never Love The Same Way Twice" (1995), Jamiroquai’s "Cosmic Girl" (1996) and "Canned Heat " (1999), The Spice Girls’ "Who Do You Think You Are" (1997) and "Never Give up on the Good Times" (1997), Byron Stingily's "You Turn Me" (1998), Jeanie Tracy's "Keep The Party Jumpin'" (1999), Gloria Estefan's "Heaven's What I Feel" (1998) and Cher’s "Strong Enough" (1998).

The trend continued in the 2000s with songs such as Kylie Minogue’s "Spinning Around" (2000) and "Love at First Sight" (2002), Ultra Nate’s "Get It Up (The Feeling)" and "I Don't Understand It" (2001), Taylor Dayne's "Planet Love" (2000), Alcazar’s "Crying at the Discoteque" (2001), Jamiroquai’s "Little L" and "Love Foolosophy" (2001), Daft Punk’s "Voyager" (2001), Awaken’s "Party In Lyceum's Toilets" (2001), (2000), Sheena Easton's "Givin' Up, Givin' In" (2001), Sophie Ellis-Bextor’s "Murder on the Dancefloor" (2001), Gloria Gaynor's, "Just Keep Thinking About You" (2002), Michael Franti, Spearhead’s "Love Invincible", Jody Watley's "Whenever" (2003), Kim Sozzi's "How Did You Know" (2003) , Rupaul's "Looking Good, Feeling Gorgeous" (2004), La Toya Jackson's "Just Wanna Dance" (2004), Dannii Minogue's "Don't Wanna Lose This Feeling" (2003) and Madonna’s 2005 album Confessions on a Dance Floor echoes traditional disco themes, particularly in the single "Hung Up," which samples ABBA's "Gimme! Gimme! Gimme! (A Man After Midnight)."

In the mid-late 2000s, many disco-influenced songs have been released and become major hits, including Ultra Nate's "Love's The Only Drug" (2006), Gina G’s "Tonight's The Night" (2006), Irene Cara's "Forever My Love" (2006), Bananarama's "Look On The Floor (Hynotic Tango)" (2006), Dannii Minogue's "Perfection" (2006), Akcent's "Kings of Disco" (2007), the Freemasons (band) "Rain Down Love" (2007), Claudja Barry's "I Will Stand" (2006), Suzanne Palmer's "Free My Love" (2007), Miguel Migs's "Make Things Happen" (2007), Lucas Prata's "I Think I'm In Love" (2007), Pepper Mashay's "Lost Yo Mind" (2007) and Sophie Ellis-Bextor’s "Me and My Imagination" (2007) among many others others.