Nothing lends an air of intelligence like really knowing the score, be it Verdi or Los Valentinos. Check the great tempo change half way thru.
Mysterious 1978 voodoo chant obscurity from Mexico, check the radio for the full 10-minute marathon.
Did you watch the horribly lame spectacle that is The Oscars and see the once cutting edge Bette Midler debasing herself by performing a hommage to the people in her industry who died during last year? It was unbearably saccharine and as Hollywood is it gets. Many disagree, though. “But that’s a great song and every normal person would say she sings wonderfully” replied one of my so-called friends.
Is it even desirable in the first place to stake a claim to being “normal”, isn’t a transgressive stance far better? Overfitting Disco says NO to normalization. It celebrates the radically different, and that difference needs to be embraced and supported. So, instead of bowing down to any common denominators let’s hear it for one of the true great performers with an alternative and eccentric sensiblity, Lyda Zamora from Colombia. The intro for her medley When The Sun Goes Down has already been posted but here is more of the track with LOTS more throaty purring, bold vibrato singing and grandioso emoting, along with stuff from Sabine Sauvant and Veronica Unlimited, both in the excessive, bollocks-to-good-taste disco medley subgenre.
A contemporary yet fully orchestrated version of the classic tune heard during the party scenes and the end credits of Jaume Balaquero’s (REC)3 The Genesis, the weakest but still entertaining chapter in the ongoing REC saga. Hopes are high for episode number 4 which will open in Spain on 10th of October as it will focus on the original Angela Vidal character seen in parts one and two. For the uninitiated: in 2007, a television reporter and a cameraman documenting the daily work of Barcelona fire fighters are trapped inside a gloomy apartment building, facing an outbreak of demonic infestation.
The second track is the Bernardhermannesque theme from a beloved, certified classic.
Yet another eccentric version of I Feel Love, by an American violinist and bandleader. The Mad Russian is a mix of Disco and Dixieland. Is that Putin in the lower left hand corner?
The original 1970 version of Viramundo is a protodisco classic – only just when it gets going the track is over. The 1978 update is over 6 minutes long. It’s difficult to tell where “live” playing ends and studio begins but with percussion this intense you’ll hardly care.
This post is long overdue, but what better time than now, a day away from moving to Istanbul myself. Overlooked until recently (outside of Turkey that is), the Ayva Çiçek Açmış LP – released in the late 70′s on the consistently interesting and playful label Bip! – is one of those records that just breaks whatever ethnic sound barrier one might previously have generated towards turkish music. It manages to excert a notable club-oriented sound and production, while still maintaining a strong traditional music identity.
The long instrumental parts in and between tracks makes for great variation and mixing ideas, and some nice edits of some of the songs have indeed been around for a while now, for example by Istanbul music collective Çerikunda and Arsivplak.
But of course, nothing beats the album as a whole. I have included samples here from 3 of the best songs, but really it can be heard from start to finish. And while it doesn’t seem to be a hard-to-find album, I would recommend buying it soon, before it becomes exactly that.
The infectous Brasilia Carnaval from 1975 is probably the most covered disco tune since El Bimbo, the mother of all holiday classics. Is this the best of the cover versions, or even better than the original?
- Your past is not your future.
- But even the present is already gone.
- Why can’t everything be wonderful all the time everywhere?
- How to avoid everything?
Every now and again there’s a need to be deep… or atleast to fake it until it becomes the truth. As if modesty was a virtue – there’s not much to be reported from my inner voices. Usually the conversations go like:
- Should I get a double before I blog this?
- Oh, save the money for something more important.
Kudos to William Shakespeare and Yann Tregger for these illustrious inner voices (UK late 16th century, France, 1975).
Mondo Bizarro tunes from Cuba performed by Galaxia, a group of children or a grupo infantil as it says on the sleeve. The tracks on the album contain a druggy midtempo take on Herb Alpert’s Rise and faster hard-to-classify freak-outs like the title cut.
Originally commissioned to kick off a new series of mixes presented on author Luca Locati Luciani’s FB page for his book “Crisco Disco – Disco Music & clubbing gay negli anni ’70-’80″, this is c 50 minutes of music to be played in a darkened room full of cowboys, cyborgs, nuns and French sailor boys. For the latter, there’s a lengthy segment focusing on Paris, with tracks by Zamulo, Patrick Juvet and Bernheim. The others might go for Bazooka, Disco Dick or Denise McCann bellowing out a disco version of the Marlene Dietrich classic The Boys In The Back Room:
“See what the boys in the backroom will have,
And tell them I’m having the same.
Go see what the boys in the backroom will have,
And give them the poison they name.”
Argentina 1979. In the picture, a famous OVNI-like club thereabouts. Imagine either one of these tunes greeting you as you step thru the door.
The pic is from Terry Strip Disc.