Disco!

IdleRich

IdleRich

IdleRich
pattycakes_ said:

#lush
Click to expand...
I know someone who had to be talked out o buying the only twelve of that on discogs for about £1,200.
It was the b-side he told me would certainly cause the dancefloor to explode in an irresistible tidal wave of disco ecstasy so potent that it would justify that price tag....


Personally I thought it was a pretty good tune but that did seem a little steep.
 
jenks

jenks

thread death
Sheila B Devotion - I loved that track. My dad bought Night Fever and Chic albums when they came out and played them to death alongside Stevie Wonder, Isaac Hayes, Millie Jackson and Gladys Knight. He was a lot cooler than I gave him credit for. He also had a great LP which I think was from K-Tel called Superbad which had Curtis Mayfield, Bobby Womack and lots of others on it.
 
Corpsey

Corpsey

bandz ahoy
I had no idea Chic produced 'Why'.

I love that thing of discovering that certain geniuses are behind everything that's good in this world.
 
B

blissblogger

Well-known member
one thing i've noticed recently listening to 80s club faves, is that a lot of postdisco / boogie tunes have this thing where the chorus is rectilinear - regular and spaced out notes - which creates a delicious tension with the grooviness of the music. the verse melodies tend to move in this more fluidly shimmying soulful way

this is a good example (and a wonderful song / vocal performance - plus the lyric is kinda odd if you pay attention to it)

 
Last edited:
B

blissblogger

Well-known member
this is another example and the spaced-out, rectilinear effect is exacerbated by breaking up the chorus so that it's a sort of a back and forth between two voices (both Cheryl i think)


her voice is unreal

subtly saucy lyric too
 
B

blissblogger

Well-known member
listen to the fade of the 12-inch for the "all right" as used in "Radio Babylon" and a thousand (slight exag) rave tunes

 
B

blissblogger

Well-known member
melodic spacing in the chorus in full effect

actually the verses are quite rectilinear (not sure if that's the right word but I'm sticking with it)


thinking about it was something of a hallmark of Jam and Lewis's writing and arrangement - as with SOS Band
 
B

blissblogger

Well-known member
melodically this one has a kind of "plotted out on graph paper" quality, or Morse Code or something, with the singing as controlled and almost formal as the tune - until a horrible section that's all melismatic and oversouled and breaks the mood completely


no need to mention which sublime Dissensus-canon later work is sourced in this
 
Last edited:
You must log in or register to reply here.
Top