Results for disco
Giorgio Moroder is on his 6th musical decade, and he's showing no signs of slowing down. He's a name many will identify with Donna Summer's great hits of the Disco era, as well as solo hits like "From Here to Eternity." In fact, subsequent artists and producers talked about going after that“Moroder beat.”While today we hear the synth-heavy "Love to Love You, Baby" and "I Feel Love," and are immediately taken back to the 1970's, at the time they were the sounds of the future. No less than Brian Eno said just that to David Bowie, one of Giorgio's collaborators on the Cat People soundtrack. Giorgio also composed memorable scores for movies like Scarface and Midnight Express, as well as hit songs like "Flashdance…What a Feeling," "Call Me" and "Take My Breath Away." Recently, he's ad a renaissance of sorts, collaborating with Daft Punk on their Grammy-winning album Random Access Memories. And at 73, he's still appearing at festivals like Ultra Music, Pitchfork and MoogFest.Go to episode 437
Even now, 31 years after the release of "Rapture," one is impressed by how cool a rapping Debbie Harry sounds. The Blondie lead singer was always ahead of the curve sonically, incorporating R&B, reggae, and, gasp, disco into her songs. During her visit to the show, Debbie talks to Jim and Greg about these varied influences, and what the scene was like in downtown New York in the '70s and '80s. We certainly have Blondie to thank for bringing a little dance back to the punk mix. And the up-tempo sounds continue on the band's latest release Panic of Girls.Go to episode 322
Mission of Burma
This week's guests are the men of Mission of Burma: Roger Miller, Clint Conley, Peter Prescott, and Bob Weston. The post-punk pioneers were in Chicago to perform at the Pitchfork Music Festival, so they stopped by Sound Opinions for a discussion and performance. Jim and Greg explain that Mission of Burma is a rare example of a band able to break up, reunite and continue making music as good as (if not better than) they did before. Burma's first incarnation was in the early 1980s — they recorded one album in 1982 before they had to disband due to Roger's debilitating tinnitus, but their influence is undeniable. The band returned twenty years later to tour and record OnOffOn, and have recently released The Obliterati, which both Jim and Greg say may make their Best of 2006 lists.
Mission of Burma is known for combining pop melodies with quite a lot of noise. These characteristics often get the band thrown in the same pot as bands like Gang of Four and Wire, but listeners shouldn‘t confuse these post-punkers. One of Burma’s distinctive features is their use of tape loops. During their first go-around, Martin Swope would record the band's sound and manipulate it live with a reel-to-reel tape machine. Now Shellac's Bob Weston has the job, and you can hear the effects on "Max Ernst," which they perform live on the show. Another famous looper is Radiohead's Jonny Greenwood, though he works digitally.
Another Burma trademark is the songwriting. All three regular members, Roger, Clint and Peter, pen very smart, rather literate lyrics. An example of this is another song they perform live, "Donna Sumeria." While it was Roger's attempt at a love song, it's also a witty pun on Donna Summer and the ancient Middle Eastern civilization. Greg cites it as an example of Burma's punk sensibility. Their music doesn't have rules and can even have disco elements.Go to episode 38
Top Albums of 2005
The“Best Records”list: It's“a sacred thing”in pop music fandom, says Jim, requiring a discerning ear and laser-like focus. Thankfully, our hosts are here to help. After sifting through hundreds of records, and countless days spent listening (perhaps to the discontent of their wives), they‘ve managed to pick out their absolute favorites. Here’s what Jim and Greg say they'll still be listening to in 2006.Go to episode 2
Few groups can claim the sustained success of The Isley Brothers, in no small part due to the contributions of our guest Ernie Isley. The Isley Brothers formed in the 1950s as a doo-wop vocal group in Cincinatti, scoring huge hits with the wedding staples "Shout" and "Twist and Shout." They managed to survive the British Invasion, assisted by the incredible playing of their young guitarist Jimi Hendrix. With the addition of two more brothers, Ernie and Marvin, the band started to branch out into funk, soul, psychedelia, rock, and disco. It's this willingness to defy categorization that's led to the Isleys' longevity – the band scored the rare feat of charting in six consecutive decades.
Ernie Isley picked up where Hendrix left off on guitar, creating an unmistakeable tone featured on hits like "That Lady" and "Summer Breeze." But his contributions as a songwriter were just as vital, including a pair of sociallly conscious anthems in 1975: "Harvest for the World" and "Fight the Power," which Ernie penned in the shower before a trip to Disneyland. The Isleys' influence continues to be heard today in the hip-hop realm. Artists from Ice Cube to Notorious B.I.G. to Kendrick Lamar have crafted iconic songs from Isley Brothers samples. The band is now being honored with a massive boxset called The RCA Victor & T-Neck Album Masters (1959-1983), and even that just scratches the surface of the Isleys' long career.Go to episode 509
Shamir has been on Jim and Greg's radar since they caught him at last year's SXSW Music Conference. Born Shamir Bailey, the 21-year-old Las Vegas native has been stylistically restless his whole life. He formed an indie pop duo in high school, explored a love of country music, and incorporates the sounds of vintage Chicago house and disco on his electronic pop recordings. After being blown away by a demo tape, producer and music writer Nick Sylvester took an interest in Shamir. Sylvester's GODMODE label released the North Town EP in 2014, followed by a debut full-length called Ratchet in 2015. Ratchet earned widespread critical acclaim, including high spots in both Jim and Greg's best of the year lists. Shamir stopped by the Sound Opinions studios a few months back and, after greeting the entire staff with hugs, sat down with Jim and Greg for a stripped-down performance on acoustic guitar and piano and a conversation.Go to episode 530
EDM - or Electronic Dance Music - has exploded over the past decade in Europe and the United States. But if names like Skrillex, Tiesto, Deadmau5, and David Guetta mean nothing to you, never fear. Jim and Greg have brought in Spin's Philip Sherburne, author of the“Control Voltage”blog, to offer a primer for the un-initiated. They kick off the conversation with a discussion of the genre's recent evolution: from the short-lived nineties rave scene with its anonymous DJs spinning in dark rooms, to the audio/visual spectacles presided over by celebrity DJs that we see today. A new emphasis on showmanship, and the adoption of dub step's aggressive, bass-heavy beats have won superstar producers like Skrillex, Tiesto, and Rusko a huge, youthful following says Sherburne, effectively making EDM the new stadium rock. But he'd also suggest keeping your eye on the up-and-comers, artists like SBTRKT, Four Tet, and Caribou.
Wrapping things up, Jim and Greg put the new artists we've heard in historical context. After all, as Jim says, covering dance music can give you deja vu. Greg reminds us that todays EDM producers are following in the footsteps of disco artists like Giorgio Moroder, Chicago house and techno musicians, Kraftwerk, Aphex Twin, Fatboy Slim, and - dare we say it - Brian Eno.Go to episode 341
Hosts Jim and Greg interview Chicago Soul singer Gene Chandler, who is best known as the“Duke of Earl.”Jim thinks 1961's“Duke of Earl”is one of the best pop or rock songs of that era. Gene Chandler came out of a tradition of Doo Wop in Chicago that included groups like the Flamingos and the Spaniels. He worked closely with fellow Chicago Soul legends Curtis Mayfield and Jerry Butler. Later in his career, he transitioned into producing other artists, even running his own label,“Mister Chand.”The epitome of a“soul survivor,”Gene scored hits during the Doo-Wop, Soul, and Disco eras.Go to episode 588
"Disco Sucks!" some would have you believe. But not so, say Jim and Greg. The genre often gets a bad rap—silly songs, silly clothes, silly people. But, the music and the scene surrounding it were much more. Songs like "I Feel Love" by Donna Summer and "Good Times," by Chic are as artful and influential as anything pop music has produced. And, as opposed to the exclusive disco world of Studio 54, authentic discos and disco music gave a sense of community to many outsiders, much like punk did. You can hear this in tracks like "You Make Me Feel (Mighty Real)," by drag performer Sylvester.Go to episode 339
Disco often gets a bad rap — silly songs, silly clothes, silly people. But as Jim and Greg discuss this week, the music and the scene surrounding it were much more. Songs like "I Feel Love" by Donna Summer and "Good Times," by Chic are as artful and influential as anything pop music has produced. And, as opposed to the exclusive disco world of Studio 54, authentic discos and disco music gave a sense of community to many outsiders, much like punk did. You can hear this in tracks like "You Make Me Feel (Mighty Real)," by drag performer Sylvester.Go to episode 184
People in Chicago of a certain age fondly remember strolling down Lincoln Avenue into Wax Trax! Records. It was the epicenter of cutting edge culture in the 1980s. But even if you weren‘t there to sample goods from the record store and label, you’re familiar with its influence. Owners Jim Nash and Dannie Flesher created a world headquarters for artists who bridged disco, house, electronic, punk, and industrial music. Acts like Ministry, Front 242, RevCo, Underworld, KMFDM, and My Life With the Thrill Kill Kult went on to sell millions of records internationally. Nash died in 1995 and Flesher in 2010. A year later, Wax Trax friends and family celebrated its 33 1/3 anniversary at Metro in Chicago. Two key players in that scene were Chris Connelly and Paul Barker. They share their memories of Wax Trax with Jim and Greg.Go to episode 293
Holiday Spectacular 2016
There's a whole world of holiday music out in the universe besides the tired recordings you hear endlessly year after year. Nobody knows that better than holiday music collector and expert Andy Cirzan. Each year, Andy joins Jim and Greg for our Holiday Spectacular, sharing an hour of incredible unknown Christmas records he's picked up over years of scouring bargain bins throughout the country. This year, Andy presents a mix of obscure holiday soul, pop, disco, and more titled Warblings from the Enchanted Forest.
As a special bonus, listeners are invited to download Andy Cirzan's accompanying holiday compilation for FREE at christmas.soundopinions.org. The mix will only be up until the end of 2016, so get it while the yule log is hot! And happy holidays from Sound Opinions!Go to episode 577
Passion Pit Manners
The next album up for review is Manners, the debut from Boston-based Passion Pit. The electro-pop quintet is helmed by Michael Angelakos. It's his falsetto that dominates the album, in addition to the lush, swirling synths. In fact, the music is a little too lush and sugary for Mr. Kot, who wishes there were a few more moments of calm. He gives Manners a Try It rating. Jim was certain Greg would be all over this record. He hears the music as a successful, indie take on '80s disco and gives the album a Buy It.
The Scissor Sisters Ta-Dah
Next up is the sophomore effort from The Scissor Sisters, Ta-Dah. It's a common misconception that this quintet hails from the U.K. While they have received most of their success across the pond, this gender-bending pop group actually hails from New York City. Scissor Sisters had hits the first time around with singles like "Take Your Mama" and "Comfortably Numb," but the question was whether their schtick was too schticky to last. Greg, for one, really enjoyed Ta-Dah. He thinks that the music is fun and upbeat and perfect for singles play on your iPod. But he thought Jake Shears' (get it? "Shears!") falsetto was difficult to take for an entire album and can only give Ta-Dah a Burn It. Jim liked the album a bit more than Greg. He described it as an amalgam of the best glam, pop, and disco music that you would've heard on '70s AM radio. However, like Greg, he only recommends listeners Burn It.
Spoon Hot Thoughts
Austin, Texas-based indie rockers Spoon have teamed again with producer Dave Fridmann for their ninth studio album, Hot Thoughts. The result, according to Greg, is a subterranean disco record where everything becomes a percussion instrument, from the guitar riffs to Britt Daniel's rhythmic vocals. Alternating between minimalist electro-grooves and avant-garde tracks, it's a great Spoon album that the band has been building toward its entire career. Jim concurs, highlighting the inventive drumming of Jim Eno that propels the band. He marvels that Spoon can continously reshuffle the same minimalist ingredients yet always come up with bold new statements. Hot Thoughts gets a double-Buy It.
LCD Soundsystem Sound of Silver
The final review of the show is of LCD Soundsystem's second release, Sound of Silver. LCD Soundsystem is helmed by James Murphy, the DFA producer many credit with defining the New York club sound. His merging of disco and rock with the debut LCD release was hugely successful among critics and music fans. Now Murphy and co. are back with a second release that veers more towards the disco than the rock. Fans of the first release might be disappointed initially; this album doesn't suck you in as fast. But, both Jim and Greg urge listeners to give it more than one try. Some of the songs are less accessible, but music fans (and frustrated critics) will appreciate the many inside jokes and reference points. Sound of Silver gets two Buy Its.
Moby had one of the biggest selling albums of all time with 1999's Play, and now he's back with his eighth proper album Last Night. Jim and Greg describe the record as a one night tour of the New York underbelly. The music illustrates Moby's return to his disco roots, and as Greg discusses, the electronic artist really understands the drama in dance music, as well as the spirituality. He explains that between the beautiful melodies, emotion and beats, Last Night is a terrific album beginning to end. Jim has never been shy about being a Moby fan. He appreciates how the artist has never tried to be“cool”and how he has such an“old-school”appreciation of melody. As much as they hate to do it, both Jim and Greg agree and give Moby's new album a double Buy It.
Daft Punk Random Access Memories
After eight years without a proper studio album, Daft Punk - the DJ duo of Guy-Manuel de Homem-Christo and Thomas Bangalter - is back with Random Access Memories. The robots get an assist on album No. 4 from an impressive roster of live musicians, including disco greats Nile Rodgers and Giorgio Moroder. So what does the biggest act in EDM today think of the dance music boom it's spawned? Greg says judging by Random Access Memories, the robots aren't big fans of modern EDM. This album sees Daft Punk connecting with its roots, Greg says, embracing live performance, disco, and jazz-fusion in an attempt to give computer music some soul. There's no question R.A.M. has major quality control issues, Greg says, but it's an ambitious album well worth a Burn it. Jim agrees. At a time when EDM artists are trying to sound like machines, he applauds Daft Punk's effort to make machines sound human. And it doesn't hurt that they give younger EDM fans a history lesson in the bargain. Jim gives Random Access Memories a Burn it.
Phoenix Wolfgang Amadeus Phoenix
Another new summer pop album is by the French band Phoenix. Their fourth album is called Wolfgang Amadeus Phoenix. That title and their song "Lisztomania" may give listeners the impression that this is a cerebral record. That impression would be wrong, however. For Greg this is a perfectly sequenced, filler-free pop record that combines disco with new wave. For Jim it's an entrancing album from start to finish. Both hosts give the new Phoenix a Buy It.
Belle and Sebastian The Life Pursuit
Scottish indie pop band Belle and Sebastian recently put out their seventh studio release, and Jim and Greg are in agreement about this one. On The Life Pursuit, the band turned to producer Tony Hoffer to break its mold. The result is a sound that is tougher, poppier, and not overly precious. Like Ray Davies, singer/songwriter Stuart Murdoch is a witty and often acerbic lyricist who wrestles with feeling like an outsider. He tackles issues of identity and religion, but wraps it up in an up-tempo, disco-inspired package. The result is a double Buy It rating.
Pharrell G I R L
For a long time, baby-faced Pharrell Williams was better known as a producer for artists like Jay-Z and his own N.E.R.D. But in 2006 Pharrell stepped out more as a vocalist, releasing a lukewarm solo album and increasing his guest appereances on other artist's tracks. In 2012, two of those tracks, one with Robin Thicke and the other with Daft Punk, launched him to new heights of stardom. And with that momentum, Williams is back with a second solo album. G I R L's slick combination of disco and R&B sounds make the record an instant Try It for Jim. He would‘ve gone Buy It if it weren’t for Pharrell's tired lyrics about women. Greg also sighs at the empty lyrics, adding that Williams should stick with what he does best: producing. His ability to channel dancable rhythms from the likes of Prince and Stevie Wonder is his greatest asset and ultimately the only thing earning G I R L a Try It.
Bruno Mars Unorthodox Jukebox
Two years ago, Bruno Mars won Jim over with his infectious (and ubiquitous) "Lazy Song." Like its author,“The Lazy Song”was youthful and hard to dislike. Plus, who can resist Bruno's backstory? The pop phenom got his start at age four impersonating Elvis in his hometown of Honolulu before founding top-tier production team The Smeezingtons. Having crafted hits for the likes of Cee Lo Green and Travis McCoy, Bruno released a solo debut, Doo-Wops & Hooligans, in 2011. Late last year we got the follow up, Unorthodox Jukebox. Jim and Greg kick off their review by playing "Gorilla". It's“the stupidest song on the album”according to Greg, though there are some other contenders. Bruno's randy lyrics are nothing to write home about, but even on this record's stinkiest tracks, there are redeeming pop touches - a cool chord progression or a spot-on Prince falsetto. Jim agrees. Bruno Mars may be a lightweight, but his re-workings of Elton John, disco, and Sam Cooke are appealing and melodic. This is appropriation, but it's good appropriation. Unorthodox Jukebox gets a double Burn it.
As a nod to Peaches‘ irreverent, gender-bending ways, Greg digs deep down in his music collection for this week’s Desert Island Jukebox pick. He chooses a track by '70s and '80s model/pop star/diva Grace Jones. Before Peaches, or even Madonna, shocked and awed people with their controversial lyrics and style, Grace Jones was crossing lines between genders and musical genres. She was beautiful, but also masculine. Her music was rock, but also disco. So, like David Bowie, Jones had audiences questioning the idea of identity. But it wasn't until she collaborated with Island Records founder Chris Blackwell and his Compass Point house band that she made music that could be taken seriously. Greg chooses to play her cover of Joy Division's song "She's Lost Control." In her version, Jones assumes the role of the woman on the verge of a losing her mind. And after listening to the song, you may find that this role wasn't such a stretch.Go to episode 34
Last week Disco queen Donna Summer died at age 63. Jim and Greg talk about her gospel and musical theater roots and her contributions to pop music. People relegate Summer to the disco ghetto, but really she spanned many genres and didn't stop working after the 1970's. Her work with Giorgio Moroder also greatly contributed to the development of electronic music.
Only days after Summer's passing, we learned of the death of Bee Gees founder Robin Gibb. The 62-year-old had been battling cancer for some time. But before you say,“Groan…the Bee Gees,”know that the trio sold 200 million records worldwide, and not all of them copies of Saturday Night Fever. Their music from that 1977 movie defined the disco movement for many people, but the Bee Gees had hits in five different decades. And they thought of themselves more as blue-eyed soul singers. To honor Gibb, Greg highlights one of their tracks from the British Invasion period called "Every Christian Lion Hearted Man Will Show You."Go to episode 339
One of the biggest and most shocking news stories this week was the death of Michael Jackson. The pop legend died at the age of 50 in Los Angeles. There was no indication that he was ill. In fact, Greg spoke to the Jackson camp only a few days ago about the singer's big comeback tour. But, nothing about Jackson's life or music was expected. His 1982 album Thriller is the biggest selling of all time. But, for Jim and Greg it's Off the Wall that was really a masterpiece melding of soul, disco and pop. It's hard to talk about Jackson without mentioning his personal scandals. He was acquitted of molestation charges in 2005, but his legacy will forever be linked to those accusations. And unfortunately, as Jim and Greg explain, some may remember the eccentricities more than the music.Go to episode 187
First in the news, Jim and Greg discuss a story emerging out of the next decade. They talk to Wired writer Eliot Van Buskirk about his recent piece on the "Copyright Time Bomb." As Eliot explains to Jim and Greg, the U.S. Copyright Act of 1976 poses a new threat to the major label system. Songs copyrighted after 1978 can be terminated by the author in 2013 (1979 in 2014, etc.) That means that if a musician sold his or her work to a label after 1978, they can choose to take it back and manage it independently in the next decade. Many labels rely on back cataloge revenue, so this will be a big hit to them. In addition, it may be another reason an artist chooses to go it independently and without a label.
Jim and Greg couldn't welcome 2010 without looking at the decade past. The 2000s brought us N'Sync and the boy band explosion, but they also ushered in great change in terms of business and technology. As Jim and Greg discuss, advances in digital music were at the heart of all the decade's major news-from lawsuits (Metallica vs. Napster, RIAA vs. consumers) to innovation in sound, marketing and distribution (Wilco, Radiohead, Nine Inch Nails). And while the Aughts were a time of industry revolution, there wasn't necessarily a revolutionary sound. Jim thinks people may have been too shocked by technology to create something comparable to a punk, disco or grunge movement. But he and Greg are hopeful that something great is just waiting to come out of a basement near you.Go to episode 214