Disco entered the realm of Soviet Union not as entertainment, but as a standard of physical comportment to be emulated and internalized.
Eurodisco perfection from the Amica label.
A smorgasbord with salted fish, boiled potatoes and vegetables is perhaps the best known of all of Sweden’s culinary traditions. For some people the pickings may leave a thing or two to be desired but we like it all here at Overfitting Disco.
John Boorman, the director of Point Blank, Zardoz and Deliverance, goes soft with a heavily didactic film about a father seeking his son in the Amazon jungle. Instead of encounters with gutmunching cannibals the film is concerned with the earth’s ecological balance, preserving the life of the rain forest and yes, the process of growing up to be a man.
The music works, though.
Horrifying/surprisingly groovy Japanese disco versions of Beatles songs, made in 1976 when this kind of stuff became a craze after Ritchie Family’s Brazil and Baby Face by Wing and a Prayer Fife & Drum Corps hit big everywhere.
Heroic themes for space travel and alien insemination, including many tracks heard during my set at Camp Cosmic last Saturday night.
Austrian space disco from an (to me anyway) unknown artist. This could very well look like a small private pressing, but the label (Rst records) have released too many records for it to qualify as private. A big surprise however is that it’s from ’86. I would have guessed 77/78 if i didn’t knew better. Anyway it’s a really cool track
Staying on the Napoli theme, which is undoubtedly one of Italy’s music capitals, with a hugely influential disco production during the 70s.
You can easily understand why, if listening to Feliciano’s “Ricordi”. A total disco monster that has always a place in my bag as a regular spin: fast-paced drums, plus a heavenly string arrangement, with the cherry on top of squeaking synthesizers, all made in 1978 as a flipside of a cheap ballad. Nothing in the market today reaches the height of such tracks in terms of …….everything! “Ricordi” means “Memories”….and the singer goes “no, no don’t tell me who you are…I already know what you want…Memories”.
Napoli, or Naples as it is sometimes known, is a destination certain to excite everyone: from the art and history enthusiast to the nature and sea lover, from connoisseurs of gastronomy to those of ancient traditions. The vitality of Neapolitan music extends from the operas of Rossini to such popular songs as ‘O Sole Mio and Funiculì Funiculà. There’s also the somewhat secretive subgenre of Napoli Disco, of which this track here is a splendid example.
The dance of Napoli is the Tarantella. This was reportedly born around the region of Taranto, Apulia, where the bite of a spider named tarantula after the region caused people to fall into a hysterical condition known as tarantism. The victims would dance uncontrollably, trying to to sweat the poison out. This action can be seen in the film Flavia the Heretic / Flavia, La Monaca Musulmana, a French-Italian nunsploitation film directed by Gianfranco Mingozzi in 1974.
How to do the dance? Here are the basic steps.
•Facing front, cross your right foot in front of the left. Cross your left foot in front of the right. Step your right foot to the side, step your left foot to the side. Repeat this while the woman shakes the tambourine in a clockwise circle in front of her body.
•Place your hands on your hips, kick the right foot out to the front keeping it low to the ground, then step on the right foot putting weight on it, slightly in front of the left foot. Touch the ball of your left foot to the ground (without putting your full weight on it) then step in place with the right foot. This sequence is called the tarantella step. Repeat this sequence beginning with a left-foot low, front kick. Repeat again beginning right, then repeat once more beginning with the left. Perform this sequence three more times, traveling backward slightly.
•Face your partner. The woman hits the tambourine to her left shoulder, her left hip, then her right hip. Repeat this, making a triangle across the body. Tap the left hand twice with the tambourine. Perform the tarantella step forward twice, beginning with the right foot kick, so that your right shoulders pass each other. Dance the tarantella step twice moving backwards to return to the starting position. This back and forth sequence can be referred to as a “do-si-do.” Moving the tambourine twice as quickly, the woman taps her left shoulder then right hip. Repeat this tambourine sequence, then tap the left hand twice with the tambourine. Repeat the “do-si-do.”
•The man holds the tambourine in his left hand and kneels on his right knee, tapping the tambourine for seven counts of music on his right hip. On count eight, tap it twice. The man continues to kneel for eight more counts of music. Meanwhile, the woman places her hands on her hips and dances eight tarantella steps in place.
•The man remains in the kneeling position for the next 16 counts of music, but with the tambourine now shaking above his head. The woman performs eight Tarantella steps forward in a counterclockwise circle around the kneeling man.
•Two couples stand opposite each other with right hands reaching center, holding hands, forming a star shape, with left hands holding the tambourines. The couples perform eight tarantella steps simultaneously, the group rotating in a circle clockwise. Clap the tambourine on the last step. Everyone turns to join left hands in the center. Perform the eight tarantella steps again, now turning in the opposite direction. Clap the tambourine on the last step.
The Jesus movement spread widely in the late 1960s and early 1970s. Elements of the hippie counterculture were mixed with confused religious fervor. The acolytes, often called Jesus freaks, testified to supernatural experiences and speaking in tongues. Jesus music, which grew out of the movement, was embraced by the general public too for a brief period of time. One of the calculated hits was Jesahel, presented by the beardos-in-caftans boys of the Italian band Delirium in 1972. Despite the mawkish mock spirituality of the tune the record manages to get down.
Check the later disco version proper by Kim Rider here: http://overfitti.ng-dis.co/archives/5914
Let’s continue the flying with Israeli singer Izhar Cohen. From the ’78 LP “Make a little love”. This is a great summer tune. No violations of any christian morals on this one, just a warm and happy vibe all the way through
Unbelievably overlooked Rue Caldwell 1978 production on the very-much-european-sounding A.J. Cervantes’ Butterfly Records imprint, that over a 3 years span (77-80) pulled out some truly great ones (e.g. the excellent THP Orchestra). A 7″ only release which wasn’t unfortunately given a 12″ possibility, features two parts on each side, and guess which is the best one. The message is right, and those swirling synths sure do the rest.
I saw there was a previous post in this blog talking of the track “Space Trip” by Gregory, but as there were no samples, i provide here. This track, done together with Cerrone Malligator label, was distributed as 7″ and 12″ by RCA in 1980 (and in Germany, as 12″, by TELDEC). It was used the same year as theme of two radio programmes, “Boom Hollywood” and “Hit Parade des Clubs” (the second conducted every sunday afternoon by Yann Hegann), both on french Europe1 radio. Gregory himself, in 1981, will provide another theme for the same two programmes with the track “Obsession”. A curious thing about “Space Trip” is that on labels the title is “Knight Music for Space Trip (part. 1 and 2)”. The person of Gregory deserves attention too, as after 1982 he created his own FM-radio, and started doing radio programmes in the Paris clubs of which he became art director, the Metropolis, the Midnight Express and the Pacha-Club, but most of all he became the manager of FR David, helping him to build his millions reccords sold career. Here is the sample of part 1 from the french RCA 12″.
So, prepare your best space-disco outfit, close your eyes, and let your body fly to the stars!