Powerful, bass-heavy, hi-fi sound systems were viewed as a key part of the disco club experience. "[Loft-party host David] Mancuso introduced the technologies of tweeter arrays (clusters of small loudspeakers, which emit high-end frequencies, positioned above the floor) and bass reinforcements (additional sets of subwoofers positioned at ground level) at the start of the 1970s to boost the treble and bass at opportune moments, and by the end of the decade sound engineers such as Richard Long had multiplied the effects of these innovations in venues such as the Garage." [27] Lawrence, Tim (March 2011). "Disco and the Queering of the Dance Floor". Cultural Studies. 25 (2): 230–243. doi: 10.1080/09502386.2011.535989. S2CID 143682409. Archived from the original on April 27, 2021 . Retrieved March 20, 2021. Official Singles Chart Top 50 - 04 May 1975 - 10 May 1975". officialchart.com. Archived from the original on February 25, 2021 . Retrieved January 19, 2021.

Hot Dance Club Songs – July 2, 2016". Billboard. July 2, 2016. Archived from the original on July 2, 2016 . Retrieved June 21, 2016. Queen of Disco: The Legend of Sylvester". popmatters.com. February 12, 2013. Archived from the original on February 3, 2017 . Retrieved June 5, 2017. Cheeseman-fu, Phil. "The History Of House". DJ Magazine. Archived from the original on September 6, 2013 . Retrieved August 13, 2013. Pre-existing non-disco songs, standards, and TV themes were frequently "disco-ized" in the 1970s, such as the I Love Lucy theme (recorded as "Disco Lucy" by the Wilton Place Street Band), " Aquarela do Brasil" (recorded as "Brazil" by The Ritchie Family), and " Baby Face" (recorded by the Wing and a Prayer Fife and Drum Corps). The rich orchestral accompaniment that became identified with the disco era conjured up the memories of the big band era—which brought out several artists that recorded and disco-ized some big band arrangements, including Perry Como, who re-recorded his 1945 song " Temptation", in 1975, as well as Ethel Merman, who released an album of disco songs entitled The Ethel Merman Disco Album in 1979. Echols, Alice (2010). Hot Stuff: Disco and the Remaking of American Culture. W. W. Norton and Company, Inc. ISBN 978-0-393-06675-3.By describing the music, drugs, and liberated mentality as a trifecta coming together to create the festival of carnality, Brewster and Broughton are inciting all three as stimuli for the dancing, sex, and other embodied movements that contributed to the corporeal vibrations within the Sanctuary. It supports the argument that disco music took a role in facilitating this sexual liberation that was experienced in the discotheques. The recent legalization of abortion and the introduction of antibiotics and the pill facilitated a culture shift around sex from one of procreation to pleasure and enjoyment. Thus was fostered a very sex-positive framework around discotheques. [42] House music displayed a strong disco influence, which is why house music, regarding its enormous success in shaping electronic dance music and contemporary club culture, is often described being "disco's revenge." [112] Early house music was generally dance-based music characterized by repetitive four-on-the-floor beats, rhythms mainly provided by drum machines, [113] off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, it was more electronic and minimalist, [113] 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.

a b c d Richard Dyer: "In Defense of Disco." In: Gay Left, 8, Summer 1979, pp. 20-23. Reprinted in: Mark J. Butler (ed): Electronica, Dance and Club Music. New York/London: Routledge 2017, pp. 121-127. Tim Lawrence: "Beyond the Hustle: Seventies Social Dancing, Discothèque Culture and the Emergence of the Contemporary Club Dancer." In Julie Malnig ed. Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader. Urbana and Chicago: University of Illinois Press, 2009, pp. 199–214. Online version: "Beyond the Hustle: Seventies Social Dancing, Discotheque Culture and the Emergence of the Contemporary Club Dancer". Timlawrence.info. September 19, 2013. Archived from the original on October 12, 2017 . Retrieved October 27, 2017. .

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In the late '70s, Studio 54 in Midtown Manhattan was arguably the best-known nightclub in the world. This club played a major formative role in the growth of disco music and nightclub culture in general. It was operated by Steve Rubell and Ian Schrager and 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. Once a Hot Disco, Now a Cool Opportunity – Philadelphia Magazine". Philadelphia Magazine. May 18, 2016. Archived from the original on October 28, 2017 . Retrieved October 27, 2017. Harmonically, disco music typically contains major and minor seven chords, [ citation needed] which are found more often in jazz than pop music.

Salsoul Records @ Disco-Disco.com". disco-disco.com. Archived from the original on October 14, 2017 . Retrieved October 27, 2017.Paul Gootenberg states that "[t]he relationship of cocaine to 1970s disco culture cannot be stressed enough..." [30] During the 1970s, the use of cocaine by well-to-do celebrities led to its "glamorization" and to the widely held view that it was a "soft drug". [34] LSD, marijuana, and "speed" (amphetamines) were also popular in disco clubs, and the use of these drugs "...contributed to the hedonistic quality of the dance floor experience." [35] Since disco dances were typically held in liquor licensed- nightclubs and dance clubs, alcoholic drinks were also consumed by dancers; some users intentionally combined alcohol with the consumption of other drugs, such as Quaaludes, for a stronger effect.

Roberts, David (2006). British Hit Singles & Albums (19thed.). London: Guinness World Records Limited. p.95. ISBN 1-904994-10-5. Other Motown artists turned to disco as well. Diana Ross embraced the disco sound with her successful 1976 outing " Love Hangover" from her self-titled album. Her 1980 dance classics " Upside Down" and " I'm Coming Out" were written and produced by Nile Rodgers and Bernard Edwards of the group Chic. The Supremes, the group that made Ross famous, scored a handful of hits in the disco clubs without her, most notably 1976's " I'm Gonna Let My Heart Do the Walking" and, their last charted single before disbanding, 1977's "You're My Driving Wheel". The a cappella jazz group the Manhattan Transfer had a disco hit with the 1979 "Twilight Zone/Twilight Tone" theme. Some notable professional dance troupes of the 1970s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for 1970s disco dancing was the film Saturday Night Fever (1977). Further influence came from the music and dance style of such films as Fame (1980), Disco Dancer (1982), Flashdance (1983), and The Last Days of Disco (1998). Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever (1979).

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Murrells, Joseph (1978). The Book of Golden Discs (2nded.). London: Barrie and Jenkins Ltd. p. 344. ISBN 0-214-20512-6.