That music is a vehicle for the dance from the beginning of time, is obvious. And the evolution of twentieth century popular music genres such as brought us soul or funk , determined to make us dance wildly, too. But it is precisely in the mid-seventies, when dance music becomes its own entity. Automatic rhythms, full of hype, which are classified by the number of beats per minute, created expressly to be stuck in the clubs. Long tracks with sophisticated developments, to be published in a new medium called maxisingle , where ten minutes of groove, spreading across a face of a 12-inch vinyl, providing quality sound and a punch, which still has not been exceeded.
Many were the creators of that wonderful sound. Musicians, producers, vocalists and DJs from USA and Europe, flooded the tracks around the world with their songs, and knew most successful pop drink of those rhythms to create radio hits that now belong to the memory of all .
Perhaps the story has not been fair to the Disco Sound , just as it is with today's electronics. For some reason, gender Dance music will always be regarded as superficial and frivolous.
Some think that far from being a genre tacky and passenger, Sound Disco is the mother of all dance floors, and its creators, all the kings of modern dance. So I can not help, to devote a corner (there will be more secure), three of my favorites: Alec R. Costandinos, Cerrone and Giorgio Moroder . Alec R.
Costandinos, Egyptian-born musician of Greek descent, served in the seventies as a producer and creator of sounds, first after the Greek Aphrodite's Child and successful solo career of singer Demis Roussos , then the backbone of European disco sound.
Costandinos is the steward of this great work seminal French drummer Cerrone published in 1976, called "Love in C minor" . From this record, and Konga , his former common project, will come the sound that would revolutionize European dancefloors in the coming years: an irresistible combination of funk rhythm of slow pacing, spectacularly orchestrated with exquisite melodies and sexually explicit. With the permission of Giorgio Moroder , under the opinion that signs, the best thing ever created for dancing. Spectacular string arrangements for big bands, with percussion and bass lines totally organic (later copied to exhaustion), and where machines are used more as a melodic instrument. All this is very baroque and very sissy, hot sex between choirs candor and passion for dance huge.
Thereafter, Costandinos be converted back to a great virtual band called Love & Kisses between 1977 and 1979, which will debut in the hit soundtrack to "Thank God It's Friday" (1977), and direct parallel the Orchestra Synchophonic in "Romeo & Juliette" (1977), paced symphonic album inspired by the Shakespeare classic, which is another masterpiece and possibly the author's creative ceiling. Other highlights were the soundtrack of "Blue Citron Trocadero" with great "Grooves" , and the project Sumeria, with "Golden Years" , and a shy proto techno tracks for dance. From here the production is uneven, less a symphony based on the story of The Hunchback of Notre Dame ; "Featuring Alirol & Jacquet " (1979) as Synchophonic Orchestra, with a spectacular central theme " Sinergy " based on Summer" Four Seasons "Vivaldi of or " Paris Connection (1979), with disco version of "Eloise" of Barry Ryan. The truth is that his recordings were losing interest in the more evolved the dance music. Something that was evident with the production of "Love Explossion" (1979), a failed attempt to recover for the world a now forgotten Tina Turner.
French percussionist Jean-Marc Cerrone worked closely with the project Costandinos Konga, but was "Love in C minor" , the piece that hit the top creative and artistic partner. The main theme was sixteen minutes of warm disco sound, a bass line infallible, an exquisite orchestration and fiery female vocals. It was a number one European and American youth in the clubs enjoyed more modern times. version of "Black is black" of Braves, and the great "Midnite Lady" , completed the album. After "Love in C minor" , and already "divorced" from Costandinos, Cerrone published successfully "Cerrone's Paradise" (1977) with the production of Don Ray , and their biggest hit, "Supernature" (1977), which included "Give me love" , whose main theme crowded the dance floor to blow beat and of undoubted influence synthetic arrangements later. In 1978, Cerrone was the first album by Don Ray, "Garden of Love" . Cerrone's career extends to the nineties, albeit with less inspiration and little success.
Both Costandinos and Cerrone introduced electronics to enter where the synth sounds and programming take center stage. Although the big bet of synthetic sounds that would revolutionize the music album definitely would of course, from Kraftwerk Germany, and the hand of Giorgio Moroder .
Moroder was an Italian musician who was active from Munich, Germany. After several releases over the first 70, will be to work with Pete Bellote for a young singer named Donna Summer , where lay the foundations for a new sound that definitely marks the present and the future of dance music. In 1975 worldwide triumphs "Love to love you baby" , a winding track, with a Donna Summer really sexual in a crescendo that culminates in an explosion of percussion and synth bass of true vertigo. Possibly one of the most copied bases, shot and robbed in the history of popular music.
In 1977 surprised again with "I feel love" a strange issue where the voice seems to float on an irresistible synth bass. Become relentless buzz definitely in house brand. The work of Moroder and Donna Summer Bellote to be extended with great success until the early eighties. Evergreen and countless successes achieved together. Moroder
published the same year "From here to eternity" , a fantastic album created exclusively with electronic instruments. A festival of harmony synthesized sounds undisputed pioneer of the future.
In 1978 he received an Academy Award for the soundtrack of "Midnight Express" , and achieved great popularity with its main theme, Chase . In the 80, Moroder will be responsible for other bands sound as "Cat People" , "American Gigolo" , the hit "Flashdance" or the restored version of "Metropolis" , the innovative classic Friz Lang, work combined with his work as producer mainstream.
Costandinos, Cerrone and Moroder are the trio of kings from Europe prompted the best sounding album of the seventies. His works are long-lasting as the pinnacle of the music created for dancing in disco tracks, and of course are the origin and sometimes rise from the engine dance music and electronica lucky recently. Were not alone, but for me it were, are, the better.
Many were the creators of that wonderful sound. Musicians, producers, vocalists and DJs from USA and Europe, flooded the tracks around the world with their songs, and knew most successful pop drink of those rhythms to create radio hits that now belong to the memory of all .
Perhaps the story has not been fair to the Disco Sound , just as it is with today's electronics. For some reason, gender Dance music will always be regarded as superficial and frivolous.
Some think that far from being a genre tacky and passenger, Sound Disco is the mother of all dance floors, and its creators, all the kings of modern dance. So I can not help, to devote a corner (there will be more secure), three of my favorites: Alec R. Costandinos, Cerrone and Giorgio Moroder . Alec R.
Costandinos, Egyptian-born musician of Greek descent, served in the seventies as a producer and creator of sounds, first after the Greek Aphrodite's Child and successful solo career of singer Demis Roussos , then the backbone of European disco sound.
Costandinos is the steward of this great work seminal French drummer Cerrone published in 1976, called "Love in C minor" . From this record, and Konga , his former common project, will come the sound that would revolutionize European dancefloors in the coming years: an irresistible combination of funk rhythm of slow pacing, spectacularly orchestrated with exquisite melodies and sexually explicit. With the permission of Giorgio Moroder , under the opinion that signs, the best thing ever created for dancing. Spectacular string arrangements for big bands, with percussion and bass lines totally organic (later copied to exhaustion), and where machines are used more as a melodic instrument. All this is very baroque and very sissy, hot sex between choirs candor and passion for dance huge.
Thereafter, Costandinos be converted back to a great virtual band called Love & Kisses between 1977 and 1979, which will debut in the hit soundtrack to "Thank God It's Friday" (1977), and direct parallel the Orchestra Synchophonic in "Romeo & Juliette" (1977), paced symphonic album inspired by the Shakespeare classic, which is another masterpiece and possibly the author's creative ceiling. Other highlights were the soundtrack of "Blue Citron Trocadero" with great "Grooves" , and the project Sumeria, with "Golden Years" , and a shy proto techno tracks for dance. From here the production is uneven, less a symphony based on the story of The Hunchback of Notre Dame ; "Featuring Alirol & Jacquet " (1979) as Synchophonic Orchestra, with a spectacular central theme " Sinergy " based on Summer" Four Seasons "Vivaldi of or " Paris Connection (1979), with disco version of "Eloise" of Barry Ryan. The truth is that his recordings were losing interest in the more evolved the dance music. Something that was evident with the production of "Love Explossion" (1979), a failed attempt to recover for the world a now forgotten Tina Turner.
French percussionist Jean-Marc Cerrone worked closely with the project Costandinos Konga, but was "Love in C minor" , the piece that hit the top creative and artistic partner. The main theme was sixteen minutes of warm disco sound, a bass line infallible, an exquisite orchestration and fiery female vocals. It was a number one European and American youth in the clubs enjoyed more modern times. version of "Black is black" of Braves, and the great "Midnite Lady" , completed the album. After "Love in C minor" , and already "divorced" from Costandinos, Cerrone published successfully "Cerrone's Paradise" (1977) with the production of Don Ray , and their biggest hit, "Supernature" (1977), which included "Give me love" , whose main theme crowded the dance floor to blow beat and of undoubted influence synthetic arrangements later. In 1978, Cerrone was the first album by Don Ray, "Garden of Love" . Cerrone's career extends to the nineties, albeit with less inspiration and little success.
"Give me love." Cerrone. TV. 1977
Both Costandinos and Cerrone introduced electronics to enter where the synth sounds and programming take center stage. Although the big bet of synthetic sounds that would revolutionize the music album definitely would of course, from Kraftwerk Germany, and the hand of Giorgio Moroder .
Moroder was an Italian musician who was active from Munich, Germany. After several releases over the first 70, will be to work with Pete Bellote for a young singer named Donna Summer , where lay the foundations for a new sound that definitely marks the present and the future of dance music. In 1975 worldwide triumphs "Love to love you baby" , a winding track, with a Donna Summer really sexual in a crescendo that culminates in an explosion of percussion and synth bass of true vertigo. Possibly one of the most copied bases, shot and robbed in the history of popular music.
In 1977 surprised again with "I feel love" a strange issue where the voice seems to float on an irresistible synth bass. Become relentless buzz definitely in house brand. The work of Moroder and Donna Summer Bellote to be extended with great success until the early eighties. Evergreen and countless successes achieved together. Moroder
published the same year "From here to eternity" , a fantastic album created exclusively with electronic instruments. A festival of harmony synthesized sounds undisputed pioneer of the future.
In 1978 he received an Academy Award for the soundtrack of "Midnight Express" , and achieved great popularity with its main theme, Chase . In the 80, Moroder will be responsible for other bands sound as "Cat People" , "American Gigolo" , the hit "Flashdance" or the restored version of "Metropolis" , the innovative classic Friz Lang, work combined with his work as producer mainstream.
Giorgio Moroder. TV. 1977
Costandinos, Cerrone and Moroder are the trio of kings from Europe prompted the best sounding album of the seventies. His works are long-lasting as the pinnacle of the music created for dancing in disco tracks, and of course are the origin and sometimes rise from the engine dance music and electronica lucky recently. Were not alone, but for me it were, are, the better.
"Romeo and Juliet (Parts I & II)" Alec R. Synchophonic Costandinos & The Orchestra (1977) / "Synergy" Alec R. Synchophonic Costandinos & The Orchestra (1979)
"Love in C Minor" (full version) Cerrone (1976) / "Supernature" Cerrone (1977)
"Love to Love You Baby" Donna Summer (1975) / "I Feel Love" Donna Summer (1977)
"From Here To Eternity" Giorgio Moroder (1977) / "Chase" Giorgio Moroder (1978)
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