Props to Giorgio

No, this is not a shot of the real Borot trying to cut a new soundtrack.  That is the legendary monster of synth and godfather of techno, as we may know it today, Giorgio Moroder.  If you have been involved in the disco era, his claim to fame is an amazing climactic 14 minute instrumental masterpiece titled “Chase” from the movie Midnight Express, which won him an Oscar, and packed dancefloors.

In the seventies, some incredible sounding dance oriented techno was primitively shrugged off as trashy Euro disco, and was well forgotten and put to bed during a popagated collapse at the hands of a stadium amassed white trash bonfire led by rocker Ted Nugent in the Disco Sucks spectacle, when disco records were burned and destroyed.  The destiny of that sound has wound up categorized as classic electro today;  another misrepresentation in the ignorant act of labeling music.   This is the same tragedy with hip hop because there are so many other various styles so far off from this condescending absurdity we are forced to swallow in the form and fashion sense of having to watch shirtless pants-on-the-ground, no-talented, excuses for MC’s.  Unfortunately, they are all labeled as one, under that massive big umbrella- ella ella label: Rap music or Hip Hop.  Often, through the years, we, as culpable listeners,  have always misguided ourselves to accept this erroneous means of defining music for the masses.  An exhibit in the show of sheer ineptitude found in the rude act of broadly labeling music without truly defining and recognizing its intrinsic makeup and sub-genre.  The same lies for techno and other genres, but that’s not what this post is about, so let’s get back to the legendary man and his incredible midi library (music)…

Mr. Moroder may be best well known to the hip hop culture for composing the soundtrack to the movie Scarface, but his effect on electronic music culture is far more fathomable by way of the disco front.  His biggest phenom as producer is his amazing collaboration with Donna Summer for the Bad Girls Album.  An album which sold millions and millions of copies worldwide, glorified the prostitution spectre on the pop charts without inheriting one single “Parental Advisory” branding, and made way for the male counterpart version found in a song called “Call Me” (Blondie) for the American Gigolo soundtrack, which also managed to cross over as a massive New Wave hit.

His music is sensually electronic and hypnotical to the senses, minus the moans and groans made famous in Ms. Summer’s classic orgasmic epic “Love to love You Baby.”  Although this dancefloor classic lacks Moroder’s stereotypical techno enhancements, it pretty much defines the pinnacle structure of every classic house/Garage track that has been pounding woofers across many a floors for ages while giving meteoric rise to the crossovered flavor of deep tech house (the shit you hear on most of my mixes…), which is essentially techno slowed down and married to house music.

And here is a rare video of him in the studio:

I hope you’ll have some time to set aside to listen to what he has given to electronic dance music for so many years.  He is truly a legend in the studio and a master in cultivating electronic sounds.  Click HERE to view and listen to his amazing discography.

 

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