Category Archives: electro-funk
ELECTRO FUNK,DISCO: Giorgio Moroder – Midnight Express/The Chase Theme (RARE1978 Original Extended 14 Min Mix)
Also came accross this Nu-Disco remix; Giorgio Moroder VS Martin Brodin-The Chase 2011 (Martin Brodin Remix)
Hansjörg “Giorgio” Moroder (on record sleeves often only Giorgio) (born 26 April 1940, Gröden,
Italy) is an Italian record producer, songwriter and performer based in Los Angeles. When in Munich in the 1970s, he started his own record label called Oasis Records, which several years later became a subdivision of Casablanca Records. His work with synthesizers during the 1970s and 1980s had a significant influence on New Wave, house, techno and electronic music in general. Particularly well known for his work with Donna Summer during the era of disco (including “Love to Love You Baby” and “I Feel Love“), Moroder is the founder of the former Musicland Studios in Munich, which was used as a recording studio for artists including Electric Light Orchestra, Led Zeppelin, Queen and Elton John.
In addition to producing several hits with Donna Summer, Moroder also produced a number of electronic disco hits for The Three Degrees, two albums for Sparks, and a score of songs for a variety of others including David Bowie, Irene Cara, Madleen Kane, Melissa Manchester, Blondie, Japan, and France Joli.
Moroder made his first steps in music in Berlin, Germany by releasing a few singles under the name “Giorgio” beginning in 1966, singing in Italian (as George, to explain his German accent), Spanish, English, and German. He came to prominence in 1969, when his recording “Looky Looky”, released on Ariola Records, was awarded a gold disc in October 1970.Often collaborating with lyricist Pete Bellotte, Moroder had a number of hits in his own name including “Son of My Father” in 1972 before releasing the synthesizer-driven From Here to Eternity, a notable chartbuster in 1977, and in the following year releasing “Chase“, the theme from the film Midnight Express. These songs achieved some chart success in the UK, the U.S., and across Europe, and everywhere disco-mania was spreading. The full movie score for Midnight Express won him his first Academy Award for best film score in 1978. In 1979, Moroder released his album E=MC². Text on the album’s cover stated that it was the “first electronic live-to-digital album.” He also released three albums between 1977-1979 under the name Munich Machine.
In 1984, Moroder worked with Philip Oakey of The Human League to make the album Philip Oakey & Giorgio Moroder; which was a UK singles chart hit with “Together in Electric Dreams“, title track to the 1984 movie Electric Dreams. In 1986, Moroder collaborated with his protégé Harold Faltermeyer (of “Axel F.” fame) and lyricist Tom Whitlock to create the score for the film Top Gun (1986), with the most noteworthy hit being Berlin‘s “Take My Breath Away“. “Chase” was also used as an entrance theme for wrestling’s group The Midnight Express. In 1987, Moroder produced Falco‘s song “Body Next to Body”.
In 1997, Moroder and Donna Summer won the Grammy Award for Best Dance Recording for the song “Carry On”.
On 20 September 2004 Moroder was honored at the Dance Music Hall of Fame ceremony, held in New York, when he was inducted for his many outstanding achievements and contributions as producer. In 2005, he was given the title of Commendatore by the then President of the Italian Republic, Carlo Azeglio Ciampi. On September 5, 2010 Moroder received the Great Order of Merit of the South Tyrol.
Moroder won three Academy Awards: Best Original Score for Midnight Express (1978); Best Song for “Flashdance…What a Feeling“, from the film Flashdance (1983); and Best Song for “Take My Breath Away“, from Top Gun (1986).
Moroder also won two of his three Grammy Awards for “Flashdance”: Best Album Of Original Score Written For A Motion Picture Or A Television Special and Best Instrumental Composition, for the track “Love Theme from Flashdance”.
In 1984, Moroder compiled a new restoration and edit of the famous silent film Metropolis and provided a contemporary soundtrack to the film. This soundtrack includes seven pop music tracks from Pat Benatar, Jon Anderson, Adam Ant, Billy Squier, Loverboy, Bonnie Tyler and Freddie Mercury. He also integrated the old-fashioned intertitles into the film as subtitles as a means of improving continuity, and he also played the film at a rate of 24 frames per second. Since the original speed was unknown this choice was controversial. Known as the “Moroder version”, it sparked debate among film buffs, with outspoken critics and supporters of the film falling into equal camps.
- ELECTRO FUNK: Kraftwerk – Tour De France (1983 Red Label Full Version) (sydneyunderground.org)
- [ELECTRONIC POP] Digits – Pale Green Morning (loudersoft.com)
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- Ten Movies With Inspiring Style (seaofshoes.typepad.com)
- Roberta Kelly – Kung Fu’s Back Again Part 1 (fleamarketfunk.com)
- Ford & Lopatin: Channel Pressure (Review) (popmatters.com)
- Song of the Day: Rainbow Arabia – Without You (alternate version) (kexp.org)
Derrick May talks about the influence of Kraftwerk and Yellow Magic Orchestra on the roots of techno, at RBMA Bass Camp at the Metamorphose Festival in Tokyo 2010.
Derrick May on Meeting Electricfying Mojo
Derrick May talks about passing Juan Atkins‘ music to legendary radio icon the Electrifying Mojo at RBMA Bass Camp, Metamorphose Festival, Tokyo 2010.
- ABC: ‘Sounds Like Techno’ Documentary (sydneyunderground.org)
- DETROIT TECHNO : DJ Rolando – Jaguar (sydneyunderground.org)
- ELECTRO FUNK: Kraftwerk – Tour De France (1983 Red Label Full Version) (sydneyunderground.org)
- Beats the Beat (vonneaficionado.wordpress.com)
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Not much needs to be said about Kraftwerk really as im pretty sure everyone who knows anything about music will know exactly what electronic music today owes Kraftwerk. I doubt there is a BBoy in the world who wont get amped hearing this on a floor or a record enthusiast that wouldn’t have this in their collection.
Along with being one of the releases that shaped electronic music, Tour also has its small spot in clubbing/rave history here in Sydney too. I have heard from a few people over the years about watching in awe as local DJ Stephen Allkins (Love Tattoo), regularly sample & played this back & forth with Salt & Peppers Push It at Sydneys infamous R.A.T parties at the Horden in the late 1980′s.
Check this info on RAT parties in Sydney from Powerhouse museum online;
During the 1980s in Sydney’s inner-east, a series of more than 35 parties organised by the Recreational Arts Team (RAT) formed a key element of an emerging subculture. The core of the self-styled Recreational Arts Team was Jac Vidgen, Billy Yip and Reno Dal. Vidgen, an energetic party-thrower who had come to Sydney from Brisbane, became the de facto promoter and organiser of these so-called RAT parties. Yip was an artist with a wildly creative imagination who developed well co-ordinated themes and design concepts for the parties. His striking graphic concepts were applied to posters, fliers, badges and banners. Reno Dal was the team’s original technical designer and producer, who started the events with Vidgen and Yip in 1983 and remained involved until 1986. Mark Taylor was the technical producer for the peak period 1986-1990, while Wayne Gait-Smith was technical designer.Vidgen threw his first public party for 200 guests at a rat-infested house on Cleveland St on 2 October 1983, because his own private parties had become too large and expensive. He had no idea he was setting in train a phenomenon that led to a multitude of dance parties every year. Each party had a special name, usually conceived by Billy Yip, incorporating the word ‘rat’ in its title. The first official RAT party, titled ‘Ratsurrect’ and advertised through word-of-mouth, was held at the Bondi Pavilion on Easter Sunday, 22 April 1984. The early parties, particularly ‘Ratizm’ at the Paddington Town Hall (April 1985), created a buzz, attracting an inner-city party-going crowd that included heterosexual bohemians as well as gay men and drag queens. RAT parties typically had audio-visual presentations, bizarre props, party drugs, innovative lighting, underground cabaret groups, the best DJs in town and unusual live performances by people like Martin Harsono and Simon Reptile, who performed at most of these events.
What began as a creative exercise became a business. In 1987 Vidgen registered Recreational Arts Team Pty Ltd as a company. The events became larger, and were no longer exclusive eastern suburbs affairs where it was necessary to know the right people to obtain a ticket. The parties became famous for their spectacular entertainment and celebrity guests. ‘A Ratty New Year’, held on New Year’s Eve 1988 and featuring a 4am live performance by Grace Jones, was so popular that it filled both the Hordern Pavilion and the Royal Hall of Industries. The audiences ranged from 200 to 14,000 guests, with budgets from $5,000 to $400,000. However Vidgen’s motivation was not financial gain. Business was risky, profits were slim, and money made on one party was frequently lost on the next one. Vidgen described himself as ‘an event producer committed to celebration’ (Sydney Morning Herald 13/9/89).
RAT parties provided a venue for a circle of creative people to express themselves on a larger scale than had previously been available, providing a stepping stone for some to move to other levels of expression. Billy Yip is now a painter of fine art. Tobin Saunders, who is now better known as Vanessa Wagner, used to help on the decor team and performed at many of the parties with his dance group. Other contributors were the visual artist Anthony Babicci, the entertainer Ignatius Jones, and Tim Gruchy, who was responsible for much of the video production and recording at the events, particularly in the later years. The parties were vividly documented in photographs by William Yang.
The RAT parties were forerunners of the dance parties and raves of the 1990s. In the early 1980s pub rock was still the mainstream, and dance music was an underground phenomenon. Any music that utilised electronic instruments other than guitars was regarded as weird or avant-garde. RAT party enthusiasts eschewed rock, preferring recorded electronic music and dance music provided by pioneering DJs like Tim Ritchie, Robert Racic and Pee Wee Ferris.
Spearheaded by these DJs, Australian dance music took off in the 1980s. Ignored by major record labels, the dance movement followed the same path as the punk ethic: do-it-yourself. Following Vidgen’s lead, competing independent promoters booked nights at tired old venues like the Hordern Pavilion and transformed them into vibrant, packed palaces. Sydney’s gay community, in particular, took to dance parties. As well as RAT parties, the Mardi Gras, Sweatbox and Bacchanalia are now spoken of as some of the best parties held, featuring DJ sets from the likes of Ritchie, Racic, Ferris, Stephen Allkins and Paul Holden. The buzz of these parties spread to the UK with that country’s top DJs keen to take part. Warehouses emerged, some becoming the foundation of local rave culture. By the end of the 1980s parties flourished all around the country, with promoters booking a constant flow of influential overseas DJs such as Paul Oakenfold. While established rock venues suffered from lack of attendance, dance parties were frequently sold out.
The RAT parties altered Sydney’s night life, starting a craze for giant dance parties that lasted in to the 1990s. They provided a diverse range of entertainment based on visual and aural stimulation, provided a creative outlet for talented people and set the tone and style of Australian dance music culture.
Read more: http://www.powerhousemuseum.com/collection/database/?irn=319666#ixzz1PGnVkBul
Under Creative Commons License: Attribution Non-Commercial
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