Once again about orgasm

“No, the orgasm was fake on Love in C minor,” 64-year-old Frenchman Jean-Mark Cherron laughs into the phone, commenting on the famous bike. - It was a prank, an incident game. When we listened to the already finished entry in the studio, we had a small party about this - muffled light, champagne, laughing singers. At some point, they began to imitate passionate moans. At the very last moment, I decided to add all this chatter to the recording. The success of “Love in C minor” was so huge that on the second album “Cerrone's Paradise” I repeated this trick. And there the orgasm was already real. ”

The career of the French producer Cerron, who formed the canon of the orgasmic disco, looks woven from accidents. His father wanted his son to become a hairdresser, but the music was more interested in that - especially those moments when a primitive African GRUV was breaking through the records of Carlos Santana. Having gathered a group with a friend, Mark Seryron sat down at the eardrum and began to perform “Soul Sacrifice” on the streets of the resort of Saint-Top, where he caught the eye of the French producer Eddie Barclay, head of Barclay Records . So the 17-year-old drummer received a contract with one of the main French labels along with the Kongas group, whose exotic dance rock with elements of Funk, Latino and Afro fell in love with the public. Charter in three years from continuous tour, Sergey left the group, and then in 1976 he recorded the solo disco album "Love in C minor" .

Eddie Barclay refused to publish a record of the former ward, like six more French labels, which Jean-Mark Sergeron addressed. “Love in C Minor” did not fit into the standards of record-business: only three compositions, the title imagined herself with a disco-sulfur and lasted more than 16 minutes, piquant female sighs-such music in the mid-1970s did not play on the radio (and now they would not risk it). The musician took a loan and independently printed an album with a circulation of 5,000 copies, leading the Malligator label. He sold himself in a few months-a party of 300 disks by mistake went to New York, and it was a zigzag of good luck. Behind the ocean “Love in C Minor” became a club hit, and one of the records got into the Atlantic Records office, bringing Jean-Marro Serron a contract with the leading American record-label and a personal acquaintance with its creator Ahmed Ertegan. In New York, a musician who at first did not believe that his music was known there, flew to the triumph: he was met as a hero in New York clubs, including the famous Studio 54, in which Bohemia and Celebrity flowed.

The American success of "Love in C Minor" is also a game of occasion. Samizdat Cerron could easily get lost in boxes with disco plasters, which then stamped a thousand per day-the genre just entered the time of his commercial heyday. Most likely, his strange cover, stuck somewhere halfway between eroticism and comedy, helped to draw attention to “Love in C Minor” -the naked girl and Mark Sergeron in a black robe are sitting in a bunch of rags. Now the French producer assures that he did not think about the famous marketing principle of SEX SELLS , but wanted to convey the spirit of sexual freedom and absolute emancipation, which reigned in French nightclubs in the mid-1970s. Cerron's music coped with this much better than a photograph from the cover. The producer made leisurely rolling waves of rhythm, frivolous vocals and ecstatic strings with the basis of his corporate identity. However, strange covers, as if invented in a fit of cocaine insanity, have not gone anywhere either - take a look, for example, at Cerrone's Paradise and Supernature .

Mark Sergeer assures that the new album “Red Lips” , released a few weeks ago, he recorded exactly the same as “Love in C Minor” in 1976. He began with the fact that he was invented by the eardrum, then he personally recorded it, sitting down at the installation in the Los Angeles studio. Then they wrote a percussion with a musician with whom the producer has been working since the seventies, and the bass party. After all, the main thing in disco is a grav. After that, vocalists were invited to work to the finished rhythm party. Their Mark Cersron was picked up from the cohort of young and fashionable: Alexis Taylor from Hot Chip , Brendan Reilly, who worked with Disclosure , Canadian oldlet Kiesza and Retro-Soul-singer Aloe Blackc. Pevsov, according to Mark Cerron, was invited to be written in the studio in the old fashioned way so that they could be deeply imbued with the sad and even get used to it.

Oddly enough, with such an old-fashioned “Red Lips” approach, Mark Serron turned out to be the least like his own records from the 1970s. It sounds like the current commercial standard of the A la “back in the 70s”, set by the bestseller Daft Punk “Random Access Memory” : an average set of discs recorded in polished sound. Niall Rogers from Chic also appears here (at least on one track, and not on three, like DAFT PUNK ), and even if Mark Cheron has more right to call the famous American guitarist-they are long-standing competitors who met at the time of work on Atlantic -it looks like a repetition of other people's recipes. On the new album, Cerron is acutely lacking Cerron himself - his branded tricks, frivolous pranks and games with a case. The only track that reminds of the orgasmic nature of its discoamas appears at the very end of the plate-this is 2nd Chance , recorded with the legendary drummer Tony Allen.

Perhaps, after the recording of “Red Lips”, Mark Serron had to be rolled in a darkened studio party with singers and champagne.

Buy Cerrone - "Red Lips" on iTunes