Cult track from the second Cybotron long play (Australia, 1978).
Despite the title this one from 1978 sounds like something sequeing smoothly in or out of the Tom Dooley Story cowboy disco outrage posted by Carlo a while back.
Vicky Edimo – Let Me Love You Tonight
Daddy Daft Punk on board, I mean Mr. Vangarde aka Daniel Bangalter is behind this funny production for Victor Edimo. Please don’t say cheesy, it’s a simple song like a marshmallow neither less nor more. And I like it just the way it is… mmm Don’t take it too seriously disco is D.I.S.C.O. SooOo good.
This is a Swedish disco interpretation of Exodus by The Tornadoes, but more specifically, as nixxon pointed out to me, it was inspired by the Biddu version of the song. In my opinion it is also better, or at least more energetic (don’t hate on the sax).
….and it also gets points for having the absolute ugliest and most unlikely cover art for a disco record EVER. Sure you want to see it? Ok, you asked for it:
Did they get the music right in this acclaimed 2013 Canadian hommage to 70s and early 80s slashers? Yes and no. The film opens in 1976 in Montreal-posing-as-New York-convincingly-enough, and in the first club scene, we have Flight ´76 by Walter Murphy. Then, because this is a horror film with a boogey man next in line is the inevitable I’m Your Boogie Man By K&C and the Sunshine Band, big in 1976. Later, when the action switches to Montreal proper of 1980, they’re listening to Plastic Bertrand’s fab Stop Ou Encore (1980) but dancing to Desire by Roni Griffith which wasn’t recorded until 1981.
The mistakes aside, the Renaud Gauthier film itself is a lovingly created and perversely funny neo-exploitation genre film, able to stand on it’s own despite the winks towards Dario Argento, polizzioteschis and school girls-in-peril movies. The acting is suitably over the top, the set designs flawless and the photography spot on with authentic-looking image density and grain. The newly recorded as well as the original 70s incidental music – what is that tune heard in the trailer?- is very good. Also, the film finally delivers what you’ve always wanted to see: sharp, slashed-in-half seven inch disco singles used as a murder weapons, with extremely gory results.
The German dvd has both English and French audio. Get it.
It’s all in the 1971 film Sex of the Devil, everything fans of quality European cinema would possibly want with the exception of the presence of Edwige Fenech. Opulent villas, heavily made-up women in revealing costumes dancing wildly to bongo-driven discothéque music by Stelvio Cipriani (borrowing a bit from In A Gadda Da Vida), gentlemen in flapping shirt collars and tight polyester slacks reclining on sofas, lesbians harbouring pathological mistrust of men, prudish servants with secrets and repressed longings of their own, rampant nudity and images of violent death. Like in all grade A giallos and morbid sex dramas, everybody spends half of the running time casting long meaningful looks at each other from behind glasses of whisky, though in Sex of The Devil J&B was puzzlingly enough not available as a sponsor.
There’s something sinister about this tune. Gazing into the darkness of the revolving vinyl platter you get a feeling that in the depths of the grooves, something perverted holds sway. Did the master tape somehow get contaminated by the artists during the recording session and subsequently, all the pressings?
This version by the much-in-demand Manolo Gas does not that much differ from the rest of the disco remakes of standards that were massively popular in 1976 – until he starts to throw in peculiar synth noises.
“1976” has more tunes from the period in question, most with the then-current latin hustle feel. For an alternative vibe also much in evidence on the floors in 1976 check out Brass Construction’s monster hit Movin’- you need to know it so you don’t get humiliated when the title turns up in conversation.
“Melissa realized they were heading out of Manhattan. “Where are you taking me?” she demanded. “Home to meet mother?” Her perfume and the rustling of her tighs as she turned to check his reaction were sharp intrusions in the quietly purring Rolls. “No,” Larry drawled, driving steadily. “Not to mother. Just to a big, comfortable place. My summer house. As you already know I happen to be a terrific cook.”
He sounded like a kid. Melissa’s eyes were blazing. “Stop the car. I am taking the subway downtown, to Busby’s. I am going disco dancing like I told you. Without you. And Larry dear, it’s just as well, as your dancing is as bad as your cooking.”
Jacqueline Cole: Deadly Devotions (1975).
This time, it’s war – the moment I hear John & Yoko’s whiny tune from behind the wall or ANY other christmas song I’ll turn the speakers and give the neighbour the full fury of Helldriver, a 1977 rock/disco mutation from Germany. L.O.U.D. The neighbour started it, I’ll finish it.
Ok, this track is not the most obscure disco gem, but sometimes my kitsch-camp taste comes out of the closet.
“King of Nightlife” is the b-side of “Buy Mi Bananas” 7″, released by CBS in 1979, by german Group Eyes On Fire (the same that in 1978, under name Eyes, released, as b-side of “Times are Changing” 7″, the nice track “Black Caravan”).
A-side is what it promises; a terrible (even for my taste) caribbean style track maybe good for a Carnival cruise ship party. I found “King of Nightlife” not so bad, and there is a small break in the middle, with male voice hypnotically repeating the title of the track.
Here it is!
Another fab tune connected in no way with the immortal Russ Meyer classic – which contains one of the most important lines in cinema history: YOU WILL DRINK THE BLACK SPERM OF MY VENGEANCE! – apart from a word in it’s title and an overall mood of loungey grooviness. Had the film been made just a few years later this is what the music heard during the party scenes would have sounded like.