Disco
Disco is a genre of music that originated in discothèques. Generally the term refers to a specific style of music that has influences from funk, soul music, and salsa and the Latin or Hispanic musics which influenced salsa. From the revival of early rock and roll and the continuation of the 1960s' popular stylisms, disco music and dance became the amalgamation where different races, cultures, and ethnicities came together to form a musical style which broke down barriers.
The genre emerged out of an urban subculture in the early 1970s. Discos had been quietly serving its core audience for years. They originated as settings where one could dance to recorded music. The deejay deploying two turntables, a mike, and a PA system was a fixture in black communities. Whites deployed a similar arrangement for dances featuring oldies in church basements and community centers. By the 1970s, however, discos promised escapism and release. With music and lighting choreographed to manipulate the mood of the dancers, the experience melded 1970s' self-absorption with a 1960s sense of community. The genre appears to have received its impetus from venues such as The Loft and The 10th Floor on Fire Island and in Manhattan because gay men had trouble securing live acts to perform at their social soires. These places combined the functions of private clubs, dance parties, and avant-garde hangouts.
In light of these social forces, disco may well have the first pop-music form dictated by consumers; if dancers related to a record at these venues, it was classified as disco. The style was rooted in smooth black urban pop best exemplified by Gamble and Huff's Philly Sound and the seductive raps of Barry White, Isaac Hayes, and the like. However, it also incorporated a quirky, unpredictable side: left-field oddities sometimes went on the mainstream success by way of the discos; e.g., Many Dibango's "Soul Makossa" (1973), considered by some to be he first true disco hit.
By 1974, the dance-club scene was regularly responsible for breaking major hits; within another year it was helping determine the way records were made. Album-sized singles were introduced to fill deejay needs; these "disco singles" became so popular that a large number of them were released commercially. In addition, many pop recordings were issued in a "Disco Version," most notably new arrangements of show-biz oldies, rock chestnuts, soul classics, classical music's greatest hits, etc. The Disco Version's extended length, use of musical drama, and emphasis on instrumental texture rather than vocal personality or verbal complexity predisposed the genre to a strong European influence.
Disco ultimately secured mainstream acceptance through the success of Saturday Night Fever. Released in 1977, the film cut across all demographic lines, while the soundtrack—featuring the Bee Gees and an assortment of minor dance hits—became the best-selling LP in pop-music history. Up to this point in time, the disco scene had remained outside the pop mainstream because (1) few real discos existed anywhere other than in the major urban centers, (2) music that was specifically disco (in contrast to crossover hits) continued to be boycotted by many pop-radio stations, and (3) the absence of recognizable stars meant there was no handle by which less informed fans could sort through the disco section in record stores.
Disco was identified as a form of popular contemporary music which enabled its listeners and participants to understand the young adult issues of love, loss, and strong emotions through its lyrics and melodies. Disco helped to accommodate these feelings in a safe and healthy way by acknowledging that one was not alone in experiencing these emotional upheavals.
After a brief run as the top pop-music genre in 1978-1979, disco began to lose its patented dance groove. In addition, its success stimulated a cultural backlash from the more reactionary elements of the white establisment. "Disco sucks" dominated bumper stickers and graffiti of the day. There were disco-record bonfires and anti-disco protests that occasionally degenerated into riots (e.g., a Yankee Stadium baseball game). The rock press widely criticized the genre.
By 1980, the best dance music was again coming from its original source, black pop. Disco was absorbed back into the underground, to be resurrected in the 1980s as dance-oriented rock (DOR), alternative dance, house, go-go, electronic dance music, and, ultimately, techno. Donna Summer was the only notable disco artist to maintain past chart successes.
Styles of disco
The sound of a disco song depended on the particular tastes of the artists, and the arrangers, producers, and even the orchestra conductors and concertmasters dictating the type of stylized playing method of each section of the orchestra, down to the engineers and mixers who assembled all the elements to make a fluid, cohesive "sculpture of sound" through melodic continuity. Even without a very knowledgeable ear for music, one can distinguish the stylings of Van McCoy's "The Hustle" (1975) from those of Silver Convention's "Get Up and Boogie" (1976), and from those of Chic's "Good Times" (1979) and Sister Sledge's "We Are Family" (1979).
As such, many regional sounds of disco developed during the mid-1970s, as a result of collaborative efforts of many individuals with a legacy of formal education and training in music theory and orchestration, whose educational backgrounds laid the foundation for the musical genre that was to burst forth onto the dance-music scene into what would come to be regarded as "designer music." It can be noted that many of the conductors and players of the large city symphony and philharmonic orchestras responsible for the grand productions of disco were seasoned veterans of orchestras throughout the country, some even going back to the big-band era.
Some of the different regional sounds include:
- The Philadelphia Symphony Orchestra as heard by groups such as MFSB, The O'Jays, The Three Degrees, solo Patti LaBelle, and The Ritchie Family.
- The New York Philharmonic Orchestra was the foundation of the New York Sound, which included
- Van McCoy - "The Hustle" (1975)
- Odyssey - "Native New Yorker" (1977)
- Grace Jones - "I Need A Man" (1977)
- Amanda Lear - "Fashion Pack (Studio 54) (1978)
- Gerri Granger - "Can't Take My Eyes off of You" (1976)
- Vicki Sue Robinson - "Turn the Beat Around" (1976)
- Roberta Flack - "Back Together Again" (1979)
- LaBelle - "Lady Marmalade" (1974)
- The Los Angeles Symphony Orchestra was the foundation of the Los Angeles Sound, which included
- Carrie Lucas - "Dance with Me" (1979)
- Love Unlimited Orchestra - "My Sweet Summer Suite" (1976)
- Tavares - "Heaven Must Be Missing an Angel" (1976)
- Phyllis Hyman - "You Know How to Love Me" (1979)
- High Inergy - "Shoulda Gone Dancing" (1979)
Instrumentation
Instruments commonly used by disco musicians included the rhythm guitar (most often played in "chicken-scratch" style, usually through a wah-wah or phaser), bass, piano and electroacoustic keyboards (most important: the Fender Rhodes piano and Wurlitzer electric pianos and the Hohner Clavinet), harp, string synth, violin, viola, cello, trumpet, saxophone, trombone, clarinet, flugelhorn, French horn, tuba, English horn, oboe, flute, piccolo, and drums, African/Latin percussion, timpani, as well a drum kit. Electronic drums were making a debut during this era, with Simmons and Roland drum modules appearing as pioneers in electronic percussion. Most disco songs have a steady four-on-the-floor beat, a quaver (or occasionally semi-quaver) hi-hat pattern with an open hi-hat on the "off" beat, and a heavy, syncopated bassline.
This quaver pattern is often supported by other instruments such as the rhythm guitar (lead guitar parts are rare), and may be implied rather than explicitly present, often involving syncopation and rarely simply on the beat unless a synthesizer is used to replace the bass guitar.
The orchestral sound usually known as "disco sound" relies heavily on strings and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression. Typically, a "wall of sound" results. There are however more minimalistic flavors of disco with reduced, transparent instrumentation, pioneered by CHIC. Dramatic minor and major seventh chords and harmonies predominate in much disco.
Giorgio Moroder's hit singles such as "From Here to Eternity" (1977) introduced electro-disco music for audiences. Recordings such as this were crucial for the latter birth of house and techno music. Latter electric dance music also borrowed monotonous bass-drum-based rhythm from disco.
Popularity
In 1975, disco really took off, with hit songs like Van McCoy's "The Hustle" and Donna Summer's "Love To Love You Baby" reaching the mainstream. The year also marked the release of the first disco mix on album, the A side of Gloria Gaynor's remake of The Jackson 5's "Never Can Say Goodbye." Disco's popularity peaked between 1976 and 1979, driven in part by films such as 1977's classic Saturday Night Fever and 1978's Thank God It's Friday. Disco also gave rise to an increased popularity of line dancing and other partly pre-choreographed dances; many line dances can be seen in films such as Saturday Night Fever, which also features the Hustle. Disco was also popular among the gay subculture.
Many non-disco artists recorded disco songs at the height of its popularity, most often due to demand from the record companies who needed a surefire hit. These acts included: The Rolling Stones - "Miss You" and "Hot Stuff;" Eagles - "The Disco Strangler" and "Funky New Year;" Air Supply - "Just Another Woman;" and Pink Floyd - "Run Like Hell." Many disco novelty songs sold well and were popular. Rick Dees, at the time a radio DJ in Memphis, Tennessee, recorded what is considered to be one of the most popular parodies of all time, "Disco Duck," and even Frank Zappa famously parodied the lifestyles of disco dancers with "Dancin' Fool," on his Sheik Yerbouti album.
Internationally, the pop star Dalida was the first to make disco music in France with 1975's "J'attendrai" which was a big hit there as well as in Canada and Japan in 1976. She also released many other disco hits between 1975 and 1981, including "Monday, Tuesday... Laissez-moi danser" in 1979, translated the same year as "Let Me Dance Tonight" for the USA, where she was their "French diva" since her late-1978 performance at Carnegie Hall. Soon after Dalida's pioneering French disco work, other French artists recorded disco: Claude François, in 1976 with his song "Cette année-là" (a cover of The Four Seasons' disco hit "December, 1963 (Oh, What a Night)"), "Alexandrie, Alexandra" and "Les Magnolias," then the famous "yé-yé" French pop singer Sheila, with her group B. Devotion, who even had a hit in the USA (a rarity for French artists) with the song "Spacer" in 1979.
Many other European artists also recorded disco music; in Germany, Frank Farian formed a disco band by the name Boney M around 1976. They had a string of number-one hits in a few European countries which continued into the early 1980s, with songs such as "Daddy Cool," "Brown Girl in the Rain," and "By the Rivers of Babylon." Still today, the trademark sound of Boney M is seen as emblematic for late 1970s' German disco music.
Disco fever reached a peak in South Asia after the release of the Bollywood film Disco Dancer in 1982. It stars Mithun Chakraborty as an Indian disco champion who is out to get revenge on P. N. Oberoi (Om Shivpuri), a rich industrialist who once slapped and insulted his mother.
Japan also boasted a number of homegrown disco artists. The nation's top-selling female duo of the late 1970s, Pink Lady, incorporated disco music into their sound with hits like "Monday Mona Lisa Club" and "Kiss In The Dark" (the latter of which was their only U.S. hit, breaking into Billboard's top 40 in 1979).
Top Disco artists and their recordings
The Bee Gees—"You Should Be Dancing" (1976); "Stayin' Alive" (1977/8); "Night Fever" (1978)
James Brown—"It's Too Funky in Here" (1979)
Cafe Creme—"Discomania" (1978)
Cerrone—"Love in C Minor" (1977)
Chic—"Le Freak" (1978); "Good Times" (1979)
Gary's Gang—"Keep on Dancin'" (1979)
Gloria Gaynor—"I Will Survive" (1979)
Thelma Houston—"Don't Leave Me This Way" (1977/8)
KC and the Sunshine Band—"Get Down Tonight" (1975); "That's the Way (I Like It)" (1975); "(Shake, Shake, Shake) Shake Your Booty" (1976); "I'm Your Boogie Man" (1976)
Kool and the Gang—"Ladies Night" (1979)
Kraftwerk—"Trans-Europe Express" (1977)
Lipps Inc.—"Funky Town" (1979)
McFadden and Whitehead—"Ain't No Stoppin' Us Now" (1979)
Diana Ross—"The Boss" (1979)
Shalamar—"Uptown Festival" (1977)
Sister Sledge—"He's the Greatest Dancer" (1979)
Gino Soccio—"Dancer" (1979)
Amii Stewart—"Knock on Wood" (1979)
Donna Summer—"Love to Love You Baby" (1975/6); "I Feel Love" (1977); "Last Dance" (1978); "MacArthur Park" (1978); "Heaven Knows" (1979)
A Taste of Honey—"Boogie Oogie Oogie" (1978)
Andrea True Connection—"More, More More" (1976); "What's Your Name, What's Your Number" (1978)
Village People—"Macho Man" (1978); "Y.M.C.A." (1978)
DJs and producers
Disco music diverged from funk, soul, and jazz of the 1960s, elevating music from the raw sound of 4-piece garage bands to refined music composed by producers who contracted local symphony and philharmonic orchestras and session musicians. For the first time in three decades, orchestral music became the preeminent sound in the popular-music scene. Top disco-music producers included Giorgio Moroder, Patrick Adams, Biddu, Cerrone, Alec R. Costandinos, John Davis, Gregg Diamond, Kenneth Gamble & Leon Huff, Norman Harris, Sylvester Levay, Ian Levine, Mike Lewis, Van McCoy, Meco Monardo, Tom Moulton, Boris Midney, Vincent Montana Jr, Randy Muller, Freddie Perren, Laurin Rinder, Richie Rome, Warren Schatz, Harold Wheeler, and Michael Zager, whose roles involved every aspect of production, from composing the arrangements to conducting the 50- to 100-member orchestras from Los Angeles, New York, Chicago and Philadelphia to Detroit, and Miami as well as internationally in London, Berlin, Vancouver, Montreal, Paris, Milan, and New Zealand.
With as many as 64 tracks of vocals and instruments to be compiled into a fluid composition of verses, bridges, and refrains, complete with orchestral builds and breaks, the mixing engineers became an important fixture in the production process, and, as a result, were most influential in developing the "sound" of the recording through the disco mix. Record sales were often dependent on, though not guaranteed by, floor play in clubs. Notable DJs include Jim Burgess, Walter Gibbons, John "Jellybean" Benitez, Rick Gianatos, Francis Grasso (Sanctuary), Larry Levan, Ian Levine, Neil "Raz" Rasmussen, Mike Pace (L'amour), Preston Powell (Magique), Jennie Costa (Lemontrees), Tee Scott, John Luongo, Robert Ouimet (Limelight), and David Mancuso.
Backlash in the U.S. and UK
The popularity of the film Saturday Night Fever prompted the major record labels to mass-produce hits, however, as some perceived, turning the genre from something vital and edgy into a safe "product" homogenized for the mass audience. Though disco music had several years of popularity, an American anti-disco sentiment was festering, marked by an impatient return to rock (loudly encouraged by worried rock radio stations). Disco music and dancing fads were depicted as not only silly (witness Frank Zappa's satirical song "Dancin' Fool"), but effeminate. Others objected to the perceived wanton sex and drugs that became associated with music while others were put off by the exclusivity of the disco scene symbolized by doormen who kept people out of discos that did not look or dress correctly while still others objected to the then new idea of centering music around a computerized beat instead of people.
In Britain, however, during the same year as the first American anti-disco demonstration (see below), The Young Nationalist publication of the far-right British National Party reported that "disco and its melting pot pseudo-philosophy must be fought or Britain's streets will be full of black-worshipping soul boys," though this had been true for twenty years with many white male English teens considering themselves "soul freaks." The emergence of the punk and goth scenes contributed to disco's decline.
Hard rock versus disco
Strong disapproval of disco among many hard-rock fans existed throughout the disco era, growing as disco's influence grew, such that the expression "Disco Sucks" was common by the late-1970s among these fans.
- Music historians generally refer to July 12, 1979, as the day disco died. [1]
In 1979, DJs Steve Dahl and Garry Meier along with Michael Veeck (son of the Chicago White Sox owner at the time Bill Veeck) staged a promotional event with an anti-disco theme, Disco Demolition Night, between games at a White Sox doubleheader. The event involved exploding disco records, and ended in a near-riot. The second game of the doubleheader had to be forfeited.
White American male, hard-rock fans who spoke out against the music were sometimes accused of prejudice for objecting to a musical idiom that was strongly associated with minority - especially black and/or gay - audiences. To further complicate matters, several prominent, popular, hard-rock artists recorded songs with audible debts to disco, sometimes to strong critical and commercial response. David Bowie's "Golden Years" and The Rolling Stones' "Miss You," "Emotional Rescue," and "Dance Part One" are distinguished examples of these disco-rock fusions, and artists such as The Who, with their song "Eminence Front," Rod Stewart, with his song "Do Ya Think I'm Sexy?" and to a lesser extent Queen (whose "Another One Bites The Dust" was flavored with a bass line reminiscent of Chic's "Good Times"). The Clash also recorded disco-informed songs "The Magnificent Seven" and "Radio Clash." However, many of these artists were viewed as sell-outs by their once fiercely loyal fanbase and were mocked by their rivals within the hard rock genre. Since the advent of disco and dance music in general, many have argued that more and more rock music has absorbed the rhythmic sensibilities of dance, but have still remained distictly different both in lifestyle and in musical complexity.
The disco backlash also helped change the landscape of Top 40 radio. Negative responses from the predominantly white listenership of many Top 40 stations encouraged these stations to drop all disco songs from rotation, filling the holes in their playlists with new wave, punk rock, and AOR cuts. WLS in Chicago, KFJZ-FM in Dallas/Fort Worth (changing into KEGL), and CHUM-AM in Toronto were among the stations that took this approach. Interestingly, WLS continued to list some disco songs on its record surveys in the early 1980s while refusing to play them (for example, "Funkytown" by Lipps Inc.). Other stations (for example, New York City's WABC) became softer instead of harder, taking an adult contemporary approach that was equally hostile to dance music, though less hostile to black artists who recorded ballads such as Smokey Robinson and James Ingram. It would be several years - until MTV's championing of Michael Jackson and Prince - before many of these stations would allow urban-flavored music on their playlists again.
On the other side of the coin, many all-disco radio stations on the FM dial continued to serve the black community by evolving into urban contemporary formats. KKDA in Dallas/Fort Worth began as a disco station in the late 1970s, then found even greater success after tweaking to urban contemporary in the early 1980s.
Did disco really die? A transatlantic divide
In some respects the "death of disco" debate is purely academic, because in truth disco never died - it simply fell out of popularity with mainstream radio and returned to its nightclub roots. Nightclubs continued to flourish throughout the early 1980s, and there is no question that the music being played, while sometimes rebranded as "synth" or "dance" or "euro," was clearly disco in an evolved form. By the year 1989, with the phenomenal explosion of the UK club scene, disco was well and truly back. Not only was club music mainstream again, but the proliferation of dance-music genres as divergent as Hi-NRG, house, techno, trance, and drum and bass proved that modern "disco" was a hotbed of musical creativity, and had incorporated many other styles into its soulful roots.
The use of the term "disco" is fairly commonly used in the UK to refer to dance music and nightclubs, with few or none of the negative connotations associated with the word as in North America. This is largely attributable to the flourishing nightclub scene in the UK - which outside specialist audiences has no real American equivalent - but may also reflect deeper cultural differences. Surprisingly progressive club tracks regularly feature in the top 10 UK charts, while in the USA, dance/disco music is mainly represented in the form of "urban" artists which is often pseudo-dance music and not the real thing. Interestingly however, while the popular Brit Awards still have no category dedicated to dance music, the American Grammy Awards have come closer to officially re-embracing disco with the introduction of two "dance" music categories since 2003. In addition to that, Electronic/Dance music now has its own awards gala known as the "Winter Music Conference"; "International Dance Music Awards" which has been become more popular since its debut in 1984.
Transition from 1970s' disco sound to the 1980s' dance sound
The transition from the late-1970s disco styles to the early-1980s dance styles can be illustrated best by analysis of the work of specific artists, arrangers, and producers within each region, respective to the time periods. Complex musical structures, usually symphonic based (using full classical orchestras and many recording tracks) gave way to a "one-man-band" sound produced on synthesizer keyboards.
Also, the increased addition of a slightly different harmonic structure, with elements borrowed from blues and jazz (such as more prominent chords created with acoustic or electric pianos), created a different style of "dance music" in the 1981-1983 period. But by this time, the word "disco" became associated with anything danceable, that played in discothèques, so the music continued for a time to be called "disco" by many. Examples include D. Train, Kashif, and Patrice Rushen. Both changes was influenced by some of the great R&B and jazz musicians of the 1970s, such as Stevie Wonder and Herbie Hancock, who had pioneered and perfected "one-man-band" type keyboard techniques.
Time of transition
The gradual change that occurred in the late-1970s pop-disco sound included: Foxxy - "Get Off" and "Sex Symbol" (1978); Donna Summer - "Bad Girls" and "Hot Stuff" (1979); Rod Stewart- "Do Ya Think I'm Sexy?"(1978); Amii Stewart - "Knock On Wood" (1978); LaToya Jackson - "If You Feel The Funk" (1979); Thelma Houston - "Don't Leave Me This Way (1976); and Bee Gees - "Tragedy" and "Living Together" (1979).
The aforementioned songs foreboded the events of the next decade, as the year 1980 was a transitional time for music, especially dance music. As the "disco sound" was phased out, faster tempos and synthesized affects during the early-1980s' dance sound, accompanied by simplified backgrounds and guitars, directed dance music toward a more funky and pop genre. Songs included: Brothers Johnson - "Stomp" (1980); Bee Gees - "Living Eyes"(1981);Earth, Wind & Fire - "Let's Groove" (1981); Donna Summer - "Looking Up" (1980); George Benson - "Give Me The Night" and "Love X Love" (1980); Kool & the Gang - "Celebration" (1980), "Let's Go Dancin' (Oooh La La La)" (1982); Rick James - "Dance Wit Me" (1980); Michael Jackson - "Billie Jean" and "Thriller" (1982); The Pointer Sisters -"Jump (For My Love)" (1985); [Madonna (entertainer)|Madonna]] - "Borderline" and "Lucky Star" (1983); and Irene Cara - "Flashdance(what a feeling)" (1983).
Those aforementioned exemplified the emerging dance-music form that dropped the complicated melodic structures of the disco style, as woodwinds, horns, and strings were replaced by synthesizers, which mimicked their sound. Here, one can readily experience the drastic changes, from the musical arrangements - missing all signs of symphony-orchestration, including orchestral builds and breaks - to the melody - missing all signs of the complicated structures of the typical disco sound, including multiple bridges and fanciful refrains.
"Retro" revival
In the 1990s, a revival of the original disco style began to emerge and is exemplified by such songs as "Lemon" (1993) by U2, "Spend Some Time" (1994) by Brand New Heavies, the album "Tales Of Acid Ice Cream" by Awaken (1996), "Cosmic Girl" (1996) and "Canned Heat (1999) "by Jamiroquai, "Who Do You Think You Are" and "Never Give up on the Good Times" (1997) by Spice Girls (1997), and "Strong Enough" (1998) by Cher.
During the first half of the 2000s, there were releases by a number of artists including "Spinning Around" and "Love at First Sight" by Kylie Minogue (2001), "I Don't Understand It" by Ultra Nate (2001), "Crying at the Discoteque" by Alcazar (2001), "Little L" and "Love Foolosophy" by Jamiroquai (2001), "Voyager" by Daft Punk (2001), "Party In Lyceum's Toilets" by Awaken (2001), "Murder on the Dancefloor" by Sophie Ellis-Bextor (2001), and "Love Invincible" by Michael Franti and Spearhead (2003) that channeled classic disco music. More recently, Madonna has used classic disco themes in her album, Confessions on a Dance Floor (2005). Her single "Hung Up," notably samples ABBA's "Gimme! Gimme! Gimme! (A Man After Midnight)."
Disco on today's radio
Currently, most radio stations that play dance music or 1970s-era music will play disco and related forms such as funk and Philadelphia soul at some point in their playlists; both major satellite-radio companies also have disco-music stations in their lineup. However, dance- music stations in general are not known for having high ratings in the U.S. This is in contrast to the large number of popular dance-oriented radio stations in the UK. Most recently, the most popular dance-format radio stations in the U.S. are listener sponsored/non-commerical radio stations that also stream online. Two of the most popular are WMPH and C895 Worldwide.
ReferencesISBN links support NWE through referral fees
- Brewster, Bill; Broughton, Frank. Last Night a DJ Saved my Life: the History of the Disc Jockey. New York: Grove Press, 2000. ISBN 978-0802136886
- Jones, Alan; Kantonen, Jussi. Saturday Night Forever: The Story of Disco. Chicago: A Cappella Books, 1999. ISBN 1-556-52411-0
- Lawrence, Tim. Love Saves the Day: A History of American Dance Music Culture, 1970-1979 . Durham, NC: Duke University Press, 2004. ISBN 0-822-33198-5
- Michaels, Mark. The Billboard Book of Rock Arranging. New York: Billboard Books, 1990. ISBN 0-823-07537-0
External links
- Real Top 200 Disco Song chart" Retrieved September 11, 2007.
- Disco record discography and Top 700 Disco songs chart" Retrieved September 11, 2007.
- Internet radio stations playing disco music from live365.com Retrieved September 11, 2007.
- Who invented Disco? Retrieved September 11, 2007.
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