Posted by s woods on April 1, 2013
But in Continental Europe, a style of disco developed that was notably more synthesized and austere, often sleazier or chillier or just plain sillier, than its U.S. counterpart. In other words, if rock fans building vinyl bonfires at White Sox games thought disco sounded inhuman, replacing musicianly perspiration and heart with icy technology and repetition, Eurodisco proved their point. Europe was farther from the nexus of African-American music and cursed by its own English-as-second-language traditions (Eurovision pop, home-grown art rock), and also, frequently, more immersed in Third World rhythms, as early as Belgian group the Chakachas’ faux-equatorial (and Top 10 in the U.S.) “Jungle Fever” in 1972.
- Chuck Eddy, Silver Connections: 8 Essentials of Eurodisco.
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Posted by s woods on February 1, 2013
- Frank Owen, Spin, Jan 1990
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Posted by s woods on January 31, 2013
“There are many substantial reasons for linking disco with bubblegum; the comparisons, endless. Like [Kasenetz and Katz]‘s clapping sound, Euro- and pop-disco are essentially mediums for a producer’s special sound, whereas the performer’s role remains secondary. Disco combines a constant beat with simple lyrics; like bubblegum’s skip-a-rope dynamics, its function is strictly to provide rhythms for people entangles in the exercise of dance. Furthermore, many disco bands are merely media-crafted vehicles for a producer’s concept. Aren’t Jacques Morali’s Village People just a chic model of K-K’s 1910 Fruitgum Co.?”
- Robot A. Hull, “Yummy, Yummy, Chewy Chewy: A Bubblegum Yarn,” Creem, October 1979
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Posted by s woods on January 26, 2013
The Future of Everything, ca. Jan 1978, Rolling Stone
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