Disco. Part 2

I forgot this in the previous issue to consider:

Wikipedia :

“Back in 1972, the first compositions written by different composers began to appear, which could be classified as“ disco ”. Examples: “Papa Was a Rolling Stone” of Temptations; Musical theme for the film Shaft, performed by Isaac Hayz. "

Chi.

1.1. I would personally say that this is a disco. Some kind of Soul-yes.

The Temptations - Papa Was a Rollin Stone.

Video: Channel IWAN929292

1.2. Live:

Video: Channel Recargado2007

1.3. More liva:

Video: D7yo channel

ISAAC Hayes - Theme from Shaft.

Video: Dukefangermany channel

From the album:

ISAAC Hayes - Shaft - Live 1973.

Video: OSCARBM2000 channel

The same. The abundance of percussion, croaking kwakushki from all sides, chirping cicadas ... We are used to understanding very different music in Europe - much more straightforward and unpretentious.

2. Now we are returning to the stove from which we have already begun to dance and we will continue to continue. To the article in Wikipedia.

"Vetch":

“Among the numerous“ disco ”collections there were interesting production projects, the creation of which composers of leading musical labels were involved, and real nuggets, which began their way to success from unknown school ensembles. The first include groups such as “Boney M.”, “A La Carte” and “DSchinghis Khan”, among the second were “Eruption”, Amanda Lear, as well as “pop-disks”-groups “Pussycat” and “Neoton Familia” (see the style of “pop-distances”).

The general formula for disco compositions is as follows: the dance rhythm at a pace of about 120-140 beats per minute and “living” melodies, often strongly orchestrated. But from this rule there are many exceptions that allow us to talk about the existence of various branches of the genre in the era of its heyday (the “Era of the Classical Disco” of 1975-1981).

For example, the “soft disco” (Mellow Disco) was distinguished by a slower pace of 95-110 strokes-these are hits such as “Fly, Robin, Fly” from Silver Convention and “Love to Love You” Donna Summer.

2.1. Donna Summer - Love to Love You Baby (1975):

Video: Channel Glauciomunduruca

2.2. Donna Summer Love to Love You Original Long Version - 17 minute single

Video: Channel Oirad1962

And here I am in some difficulty. I have one excellent quote from Bruton-Bruster, from which it is clearly seen that Disco in the USA and Disco in Europe, and even more so Disco in the USSR-three completely different phenomena; In America, everything was done not like ours, there the punk thundered (and died out) before the disco! This is this quote

“As for the new dance genres, the profit from Disco at first managed to extract only independent companies. Many of their employees, such as Carol Chapman from Salsoul, regularly visited places such as Loft, and understood what was happening and how best to make money on this. Directly under the nose of Maighors, a powerful movement gained move.

Magejors at this time looked in the opposite direction. Trying to promote reggae, and then punk rock, they stopped at Peter Frampton.

The press also switched to disco rather slowly. As noted by the music critic Village Voice, Andrew Kopkind: “John Rockwell) still represented Sunday Times his Hegelian analysis of Sex Pistols, when two -thirds of the cities were already listening to Donna Summer.”

And only after the “fever of Saturday night”-and this is December 1977, after the British punk rescue-the disco boom in the American mainstream began.

And this is the difficulty: here it just asks and just definitely need to put one passage from the "History of the DJs". About what few people know about us. I did not know. Although he lived in those days. Although - since last year - was quite actively interested in the music of disco. But I collected information about disco in Europe and Britain-and in the USA everything was, it turns out, very, very different.

But he, an excerpt - ten thousand signs, hunting. How to be?

In short, we will do it. I put it in the application. Go to the tail of the message now, and read right now. Then come up here - and we will continue.

3. Read? Let's go.

4. Donna Summer and Bi Jiz were the main disco-kumirs.

“For the first time, large firms were actively engaged in dance music in the heyday of disco. But they did not know how to sell it, and therefore burned painfully (almost all the disco hits were published by independent labels). Majora did not find an approach to music in which there are no recognizable faces. Disco was recorded by studio producers and session musicians, therefore, except for Donna Summer, there was no one to send tiens, touched letters dripped with tears. ”

Donna Summer is given above, and then it will be more about her, and now - about “Bi jiz”.

5.

The main course , 1975 - “The Thirteenth Studio Album of the British Group Bee Geees, published in the summer of 1975.

This is the first plate of the team, which contains Disco songs-this direction will predetermine the genre component of the group for the entire second half of the 1970s.

An early Disco in the Caribbean style had a great influence on the melody, in many compositions, Falzet Barry Barry Gibba, who later brought great popularity, was clearly heard in many compositions. The cover design was developed by the American artist Drew Ryzen.

If you compare the album with the previous releases of Bee Geees, the sound turned out to be more technological, modern synthesizers are involved, in many songs a powerful bass line is felt (Bluever creates this effect on the keys, while Maurice Gibb-on the bass gitar).

In the American chart, Billboard album rose to the 14th position. Three single-released Singles achieved greater success: “Fanny (BE Tender with My Love)”-12th place, “Nights on Broadway”-7th, “Jive Talkin '”-1st. The song “Come on Over” later became a hit performed by Olivia Newton-John. ”

So: I had this record in Nadym “Main course” (1975) - I had a record with which, it is believed that Bi Jiz began the disco era. The first thing on it, Broadway nights - nothing, a little energetic. The rest is squeaking boring.

I exchanged it mainly because of the cover-I liked the inch in the spoon. Pinap! True, I did not know then the word. Only at the beginning of the zero found out.

And Steppeenwolf (1976) “Skulduerry” gave for her - in which there was also nothing but the cover. (On the cover was a mountain of golden skulls).

5.1.

Bee Geees - Nights on Broadway.

Video: channel RAKYMAKY

The beginning is very powerful, even then, as I remember now I heard, I was very inspired! But how sang ... Why? !! - So I could never understand. Why sing such a dull squeak? Is it really impossible to sing humanly, vastly, with a drive? I don't understand.

Now I listened - there, in the princess, a pretty good melody for a voice was invented. But why sing her exactly as they sang? And why not anything, it was such a non -flow empty singing that threw the Bijiz to the tops of the charts? Mystery.

For comparison, Skulduerry.

5.2.

STEPPENWOLF - SKULLDUGGERA.

Video: Channel Escada123ASD

I started excellent, by the way. Further - the standard American Arrok, he was all the same as in the mid -seventies, such as now. Okvened musical form.

And here is the main hit of Steppensolf.

5.3.

STEPPENWOLF - Born To be Wild.

Video: Name channel

Shannwulf was very respected in the USSR. But not for the songs - almost no one heard them. And because in the “riot music” there was their gorgeous photo, there are hairy steppeenvulfs, in leather pants, such terrible ones-on the scene heated by the sun, they give Arroka in front of the sea, which is somewhere far below. Because of her---:

And here it is, the photo:

Here is the "music of the rebellion" itself:

6. Nemiroff: In 2002, I published an article in the RG, where I praised the Beatles - Plotnikov and Sapa brutally convicted me for it. The chap quoted Gorokhov that in order to create one for all the Bitles supergroup, show business killed ten thousand other merceries, each of which was no worse than bitlos. If you are such a fan of pop-up of the 1960s, ”wrote Sapa on the RJ forum,“ so find the then bi jise! ” Much more interesting were than bitlos.

LGMUSIC: There was a sovereign minister with four songs from the first disk, I really loved him. And in general, as the first later became clear - a whole masterpiece.

Yes, just-an excellent group, even from disco they made a standing one. In addition, “Kastratic” voices always fascinate (not without reason, Catholics on the Catholics on the Church or children or castrates sang), there is something ethereal, “angelic” in them.

And Demis Russos, how then everyone loved! He still goes to the scoop (under the plywood).

NEMIROFF: "There was a sovereign minister with four songs from the first disk"

Oh well? I have never even heard of such a thing.

"Until now, he goes to the scoop (under the plywood)."

No, not under the plywood. I have a Tyumen friend Jake Pashkin in him in Surgut at a concert at the guitar played - everything is alive.

7. By the end of the zero chap, his opinion about the Bitolses changed and became their ardent lantern in his old age, and before he denied - admitted that he was simply from the indistinct teenage nihilism.

It also turned out that he just didn’t hear Bi jiz of the sixties, and this chewed them to him.

So it happens.

8. And I still listened to them, bi jiz. And he found that Bi Jiz, by the way, of the sixties, was really excellent. This one, in the same case, is Bee Geees 1967, Bee Geees 1st. Its beginning, in the same case:

Bee Geees 1 Turn of the Century.

Video: Channel Sixties4ver13

Under the Herachat orchestra, plaintive songs in the spirit of Elinor Rigby, Straberry Fields and other Bitolzes. The violins are howl, valtor are buzzing, etc. ITP.

Bee Geees 2 Holid.

Video: Graffitist channel

The magician yells there, in short, the Beatles cry in it, the whores are jumping throughout the apartment ... That's so, definitely! Just not Beatles, but a bijiz. That is, and not unambiguous, but one-many.

I recommend.

Here the whole album .

9. Tricky bandages came up with this chip with orchestral orchestras-but they themselves did not perform the orchestra and even in the studio did not particularly work with it. They invited one valtornist, then a string quartet, then someone else in a small amount, they wrote them a path of their tools, Bitolses and George Martin later worked with this track. And the simple -minded Australians of Bijiz, having begun to actively concert in Britain, Europe and the rest of the world, began to drag a full orchestra behind them. On clubs and lanes of the backyards of Europe and Malaysia! With concerts from day to day, or even several times a day in winter and autumn, in cold and longing!

A terrifying embezzlement-one thing to get along somehow in a group of five people (and from the groups-who withstood an intensive touring schedule for more than three or four years in a row?), And even with a whole orchestra, vastorers, craftsmen, rings into a triangle ...

And not only forces, but also money, it is one thing to move their cities to the city, another - to transport the orchestra, and arrange in hotels, and take off the room for rehearsals, and everything else, and all these Goboists need to pay a salary from their pocket! As a result, by the middle of the seventies, Bi jiz was in debt, as in silk, and they were no longer cried for girls from the province, but a real natural prison: non -detention of debts and especially! - Tax failure. Moreover, the records were sold worse: the fashion changed.

So they set off in all difficult ones.

Application

Factory Saturday evening
The success of the painting “The Factory Saturday evening”, the first show of which took place on December 16, 1977, found everyone by surprise. She was shot according to the story of the writer Nik Cohn, printed in the New York magazine called 'Tribal Rates of the New Saturday Night'. It was about a beginner dancer - a guy from a working Italian family, who lived in Brooklyn, but aimed at Manhattan and Glory. The film itself with his pair dance numbers was, in essence, skillful modernization of the musicals of the fifties and had little in common with the scene that generated it, especially since the sexual ambivalence of the Kon literary character did not remain - the hero of John Travolta Tonya Manero is definitely heterosexual.

The success of the tape, the soundtrack to it and the singles selected from it turned out to be the very spark that licked the interest of Majors in the disco. A significant share of this triumph can be merged with three brothers from Australia, who has gone through the United States transit through Manchester. Bee Geees was one of the best vocal ensembles of the late 1960s, but their transformation in the mid-seventies into “Great White Hope” is truly wonderful.

When they moved from ATCO to RSO, their impressario Robert Stigwood headed for the rhythm end-blouse as more corresponding to the tastes of the Americans. In the following albums 'Main Course' and 'Children of the World', three songs became hits: 'Jive Talking', 'Nights on Broadway' and 'You Shoup Be Dancing'. Stegwood found white Temptations.

The soundtrack to the “Rumours” fever of the Fleetwood Mac group from the Billboard Hot 100 chart, which he held as many as eight months, dropped the album. The same week, five things from the soundtrack got into the singles chart, including the 'How Deep Is Your Love' and 'Night Fever' Bee Geees, 'More than A Woman' Tavares and 'Boogie Shoes' from KC & THE SUNSHINE BAND. On the very first line was the song Bee Geees 'Staying Alive'. To support the company, Andy Gibb and Samantha Sang put the composition of Bee Geees in the radio rotation. As a result, thirty million records with a soundtrack were sold, which remained a world record for the album, until Michael Jackson was published.

Bee Geees made for disco what Elvis Presley made for the rhythm end-blouse, Diana Ross-for Soul, Dave Brubek-for jazz, that is, made him acceptable for white representatives of the middle class of traditional sexual orientation, pulled out a subcultural ghetto on Mainstima avenue. Now the American layman could dance under the disco, not worried about his ass.

It is impossible to say that the soundtrack for the “fever of Saturday night” turned out to be a sworn enemy of the underground, because the song TramMps 'Disco Inferno' had already been considered a club classic by that time, and Bee Geees was also twisted in the clubs of New York. It is not surprising that the elastic muscular compositions created with the participation of the best session musicians Miami conveyed the spirit of disco much better than the film itself.

Disco from all sides
Very soon, the whole world (and not only young, but also - in separate alarming cases - Star) has gone crazy about disco. It served as a musical panacea and a quick -acting rescue tool for a fading career of any pop artist: Andy Williams, Dolly Parton (Dolly Parton), Frank Sinatra, Frankie Valley, The Rolling Stones, Rod Stuuart (Rod Stewart) and, oddly enough, Ethel Merman recorded tracks in disco style. Percy Faith even performed a disco version of the Jewish folk song “Hawa Nagila”. Everything that could be redesigned in the disco, including melodies from television shows and films, turned out to be profitable. Even James Brown managed to earn extra money, although he, of course, did not “invent” Disco, as he often claimed, but only wrote some of his worst things during this period. Ironically, the Dan Hartman disco, in 1984, reanimated the career of Brown's hit 'Living in America' in 1984.

The saturation of the disco went in full swing when its potential realized the radio. In July 1978, the Lesser Polya Radio WKTU, which twisted soft rock, switched to disco. Two weeks later, the number of listeners of this station with the unofficial name Disco 92 increased five times. By the end of November, WKTU overtook the New York giant WABC (where the format of Rick Sklar] top 40 arose. The Arbitron rating (measuring the size of the audience of American radio stations) for the WKTU station jumped from 0.9 to 7.8, while for WABC it decreased from 8.7 to 7.5. The radio stations of the whole country rushed to switch to disco format to repeat this success.

It was a broadcasting story of a decade. WKTU methods, at least in the beginning, relied on the experience of discos. Employees seized music stores such as Downstairs, Disco Disc, Record Shack and Disc-O-Mat, in search of “hot” twelve-inch. The compiler of the programs Matthew Clenott (Mathew Clenott) said in an interview with Billboard: “We use our hearing and taste. We let the music break down. This is a street study. We need not to miss the records promoted in clubs. ” By the end of the year, the WKTU disc, Paco Navarro, who took the air on weekends from six to ten in the evening, reached a record personal rating of 15.8. Even Alan Frid, being at the zenith of fame, did not rise above 15.

Now it was not to hide from disco anywhere. It spread around the world as a fashion or even "mania". By the end of the 1970s, only in the United States there were twenty thousand night clubs. Every weekend New York clubs visited about two hundred thousand people. At the sunset of decades, DSCO accounted for up to 40 % of the singles that fell into the charts. The disco industry was estimated at four billion dollars, that is, more expensive than cinema, television or professional sport.

Eurodisk
As the financial potential of disco, his music changed significantly. At first, it was not a separate genre, but a combination of a wide variety of dance things that fell into the hands of the DJs. Rock, Soul, Fink, Latino-it is impossible to unequivocally characterize any one style or pace of music that sounded in the underground years of disco. However, in his commercial period everything changed. Few of the employees of large labels were well versed in the club scene on which this music appeared in artists and repertoire, so they noticed only the most obvious in it. They chose a crossover-records, found common denominators and came to the conclusion about the possibility of bringing a simple formula for the manufacture of disco. Soon, such a formula really appeared, and in Europe. If the Philadelphia sound was a kind of program for the introduction of disco in the mainstream, then the Eurodiscus played the role of the second wave and gave a signal to the departure from Negro originality.

Georgio Moroder and Pete Bellotte moved to Munich, respectively from Italy and England. Их первым совместным хитом стала нелепая вещица 'Son Of My Father' синти-поп-проекта Chicory Tip. Затем они спродюсировали стилизованную под филадельфийский канон 'Love To Love You Baby' Донны Саммер. Мородер, вдохновившись, помимо прочего, прогрессив-роковым эпосом группы Iron Butterfly 'In-A-Gadda-Da-Vida', удлинил четырехминутную песню почти до семнадцати минут, так что она заняла целую сторону альбома и стала одним из первых получивших всемирную изветность диско-хитов.

Последовавшая за ней запись 'I Feel Love' с ее электронным пульсирующим битом, секвенциями и эротичным вокалом Саммер, выполненная в нарочито футуристической манере, представляла собой видение музыки для танцпола глазами Фрица Ланга. Пуристы от негритянской музыки обвинили Мородера в «отбеливании» черного звучания. Американский писатель Нельсон Джордж сказал, что такая музыка «отлично подходит людям, обделенным чувством ритма». Но, как это ни удивительно, под нервными электронными секвенциями скрывался настоящий фанк, что было характерно также для Kraftwerk. Мородер и Беллот стали самыми востребованными продюсерами в Европе. Они спровоцировали лавину пластинок, многие из которых действительно отлично подходили людям, обделенным чувством ритма. Это был одновременно коммерческий апогей диско и его музыкальное дно. Крупные фирмы грамзаписи жаждали высосать из движения все его соки и отказывались от музыкальных экспериментов, характерных для инди-релизов начала 1970-х годов, в пользу испытанных рецептов. Через несколько лет диско догорело и потухло.

Крушение диско
В том, что диско начало восприниматься как «отстой», непосредственно виноваты мейджоры. Они поздно последовали за малыми независимыми фирмами, но, выработав эффективный способ общения с диджеями (через пулы и другую новацию — клубный промоушен), смогли присоединиться к празднику.

Однако чтобы заставить диско работать на себя, они вогнали его в рамки «звездных» маркетинговых структур, очень хорошо зарекомендовавших себя в роке. Им претил тот факт, что диско создают анонимные продюсеры, помыкающие кучкой сессионных музыкантов, и что настоящей звездой шоу, как все твердили, является диджей. (Да что говорить, группа Ritchie Family была названа в честь своего инженера!) Большинство крупных компаний привыкли продавать знаменитостей, за карьерой которых с интересом следили слушатели, заодно покупавшие плакаты с их фотографиями. Поэтому клубная музыка могла устроить их лишь в комплекте со всякого рода артистами и в «групповой» обертке. Естественно, все это надувательство и пение под фонограмму укрепило отношение широкой общественности к этой музыке как искусственной и холодной.

Диско не могло похвастаться ни группами, ни турами, ни сувенирными футболками. Его поборники являлись не более чем жалкой горсткой диджеев. Что касается критики, то кроме Винса Алетти и Тома Мултона в Billboard журналисты редко удостаивали диско своим вниманием, и их немногочисленные отзывы были скорее негативными. Британские рок-обозреватели — почти исключительно белые представители среднего класса — никак не могли по-достоинству оценить музыку, сделанную для тела, а не для ума. Для ее понимания не требовалась ученая степень. Как выразился в это время в NME Дэнни Бейкер (Danny Baker) — один из немногих писавших о роке журналистов, проникшихся духом диско, — разве можно критиковать такую музыку сидя?

Однако наиболее губительным явилось, пожалуй, то, что лейблы-мейджоры до самого конца полагали, будто диско — всего лишь мимолетная мода, из которой следует в кратчайшие сроки извлечь все возможное. Этого оказалось достаточно, чтобы хребет диско сломался под тяжестью возложенных на него ожиданий.

В 1980 году Марвин Шлахтер из Prelude заявил в интервью журналу Billboard: «Проблема возникла из-за компаний, слишком поздно появившихся на диско-сцене. Опомнившись, они нарезали столько пластинок, что затопили рынок».

История просуществовавшего совсем недолго отделения компании Warner Brothers — RFC Records — иллюстрирует, как быстро мейджоры вышли из игры. По случаю открытия лейбла в Studio 54 устроили шумный праздник, но похмелье не заставило себя долго ждать. «Казалось, что все еще только началось, и вдруг все закончилось, — вспоминает Винс Алетти, который в 1979 году присоединился к лейблу RFC Records, возглавленному рекламщиком-ветераном Реем Кавиано (Ray Caviano). — Где-то на середине срока нашей работы там диско сдохло, а название отделения сменили на «танцевальную музыку»».

Алетти усматривает корень проблемы в стремлении отрасли к немедленным результатам. «Когда что-то сильно разрастается и достигает большого успеха, бизнесмены считают, что нужно форсировать процесс. Они выжимают все до последней капли — и ничего не остается». Он также связывает ее с недостатком настоящей поддержки со стороны радио. «Радио оставалось очень традиционным, «натуральным», рок-н-ролльным, а большинство людей на радио просто не проявляли интереса. Им не было дела до музыки — они крутили хиты. Кончина диско их нисколько не расстроила».