Disco Edit
Fermina Enge
The line between thief and innovator is a thin one. "Good artists borrow, great artists steal" goes the infamous Pablo Picasso quote. In music, we regularly see these parallels hotly contested and everyone seems to have an opinion. Fact of the matter is that the re-contextualisation of someone else's music is the reason we have the club culture we have today. The nefarious practice of disco edits are still shaping modern dancefloors today.
Editing has been around ever since music was committed to tape, but in the scheme of dance music, New York was the starting point. The city's budding DJs realised the short run time of the radio tracks they wanted to play wasn't optimal for their sets. In order to blend tracks, they needed drum breaks at the start and extended breakdowns. So with a DIY, almost punk spirit, they set about using the tools at their disposal: a tape deck and cassettes.
To begin with, edits were personal pieces of work that artists would do for themselves until bootleggers got hold of copies and started to sell them. The hustle became real. Tuesday was record day in New York and Morales would roam the stores with a group of 15-20 budding DJs and editors, looking for this new form of music. It was a community that included the likes of Jay Negron, Franois K, Tee Scott, Jelly Bean Benitez, Shep Pettibone and Bruce Forest, to name a few, and it was a family affair according to Morales.
Eventually these homemade techniques were taken into the studio where legendary producer Tom Moulton basically invented the 'extended mix' despite not being a DJ. Eventually Gibbons, Morales and co made the move into properly facilitated digs like Sunshine Sound and the rest is history.
Now based between Berlin and Miami, DJ Tennis will be hosting a huge Life and Death party at Art Basel on December 1st, playing a solo set and then stepping up as The Wizardry alongside DJ Three and Damian Lazarus. Boasting a line-up that further includes the likes of me, Prins Thomas, Young Marco and Rekids' Radio Slave, Rdhd, J Dubs and Tijana T it's an unmissable date on the calendar for any MIA heads.
DJ Tennis: "Sammy Barbot is a Caribbean entertainer, singer and television presenter, active in Italy in the '80s. This edit of his song New Mexico is a mini-masterpiece. Probably the most popular edit of my selection."
DJ Tennis: "Named after a neighbourhood in Brooklyn, this funk and disco band had a brief flash of popularity between '74 and '79, but are now almost forgotten. But the wizard Eric Duncan brought this dance floor filler back to life."
DJ Tennis: "Another Marcello Giordani edit, in this case, he ripped the original record, speeding it up to 45 RPM instead of 33 RPM, creating this tropical and psychedelic ragga anthem. Almost unknown and brilliant at the same time. The original and slower version was one of the key tunes for cosmic selector Daniele Baldelli."
The sound has changed a lot [since the original edits] and everyone wants a really pumping, compressed sound and those disco tracks were kind of soft. But if you put some more drums in it they can go really hard," he says.
In the world of modern disco editing, few people do it like Never Dull. The San Diego-based producer and multi-instrumentalist crafts disco house that sounds modern and updated while retaining the raw and tasteful energy of classic disco. In this 5-day course, Never Dull will break down his process for reworking tracks in fresh and interesting ways. Dive into drums, sampling, recording live instruments, mixing, and a ton of other production techniques along with the history and business of edits.
Never Dull has produced and released more than 70 tracks with prominent electronic music labels around the world, receiving support from international DJs like Disclosure, Martin Garrix, The Magician, Folamour, Satin Jackets, The Blessed Madonna, and many more.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Womack & Womack - Teardrops (TIPSY DISCO EDIT), Claremont Cutz, The Temptations - Papa Was A Rolling Stone (Dirty Basement Edit) [Tipsy Disco], Hot Chocolate - Heaven's in the Backseat of my Cadillac (Dirty Basement Edit) [Tipsy Disco], Eine Kleine Nach Musik vs The Bloody Beetroots - La Serenissima [We are from Vencie] (Dirty Basement Bootleg) [Tipsy Disco], James Vincent McMorrow - Higher Love (Dirty Basement Remix) [Tipsy Disco].wav, Notorious B.I.G. - Hypnotize (Dirty Basement Edit) [Tipsy Disco], The Baker Brothers - Snap Back (Dirty Basement Edit) [Tipsy Disco], and 12 more. , and , . Purchasable with gift card Buy Digital Discography 35.25 GBP or more (25% OFF) Send as Gift credits released February 22, 2019 license all rights reserved tags Tags 80s electronic house new york disco disco re-edit edits new wave re-edits Glasgow Shopping cart subtotal USD taxes calculated at checkout Check out about Tipsy Disco Glasgow, UK
Point Blank's Danny J Lewis has been producing an ongoing series of genre videos, using Ableton Live and a Novation Launchpad. In this latest one, Danny takes Shalamar's classic "Night to Remember" and shows how to make a disco edit. Funky!
Slightly different in song structure to the original, adding chorus repetitions and removing the outro, this remix credited to Phones is actually the alias of producer Paul Epworth, who worked heavily with the band in the early years.
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Music history has itself been re-edited many a time. As the annals of club culture are revisited through a hedonistic haze, mashed up revisionism can become gospel, unwittingly or otherwise. However, when it comes to the story of the edit, there is almost complete unanimity. Our story begins with Tom Moulton. Initial experiments splicing together non-stop mixes on reel to reel tape drove an obsession with extending tracks to maximise their danceability for dancers lost in the moment and DJs aiming for a continuous flow of music. Early efforts for the likes of BT Express, Don Downing and Gloria Gaynor were met with at best bemusement by the artists, but dancers voted with their feet and edit / remix culture was born.
Nu-disco is a 21st-century dance music genre associated with a renewed interest in the late 1970s disco,[1] synthesizer-heavy 1980s European dance music styles, and early 1990s electronic dance music.[1][2] The genre was popular in the early 2000s, and experienced a mild resurgence in the 2010s.
There are several scenes associated with the nu-disco term. The original scene is characterized as house music fused with disco elements (sometimes incorrectly referred to as disco house),[3][4] and disco-influenced balearic music, also known as balearic beat revival[5] or balearica.[6]
Disco edits or re-edits emerged at the same time as disco appeared in the early 1970s, when DJs were looking for ways to make music easier to mix.[8] A disco edit is a modified version of the original master, edited by disco and house DJs to extend and emphasize the best and most dance-friendly elements. For example, Todd Terje's edit of the Bee Gees hit "You Should Be Dancing" does exactly that, downplaying the old-school vocal riffs in favour of driving bass, lively percussion, and an overall sense of space.[9]
In the early days, edits were done with scissors and tape. Some edits became even more popular than the original records from which they were derived. The early editors (such as Walter Gibbons) earned a reputation and developed a studio career from their editing work. Given the popularity of edits, labels predominantly releasing edits and remixes began to appear. The first one to arrive was Disconet in 1977, followed by well-known DJ edits services and labels such as Hot Tracks, Rhythm Stick and Razormaid.[8] Such labels remained active until the first half of the 1990s, when an increase of copyright enforcement gradually put them out of business.[8] However, the scene's activity didn't fade away, it went underground, where many disco edit labels continue to exist today, such as Brooklyn's influential Razor-N-Tape.[10]
In the mid-1990s Nuphonic Records was the house label for British artists Idjut Boys, Faze Action,[12] Raj Gupta and Crispin J Glover,[11] which are considered to be the pioneers of nu-disco.[3] The Idjut Boys, best known for pioneering a house music style called "disco-dub" were heavily inspired by the freestyle and dub-influenced, post-disco dance sounds of the early 1980s.[11] Faze Action were one of the first house production units to make "all live" productions that insisted on drawing on methods used in disco.[11] DJ Dave Lee aka Joey Negro and Crazy P are also called to be the pioneers of the genre.[3]
In 1997, DJ I-F released the track Space Invaders Are Smoking Grass, a track based around electro-funk drum patterns, 80s FM synth stabs and vocoder vocals, that single-handedly started the electroclash movement, and brought melodic, European sounding electro-disco back to clubs and DJ sets.[11] In 1999, I-F released the first of his "Mixed Up In The Hague" mixes, made up almost entirely of Italo disco and Eurodisco, which became hugely influential.[11]
In the late 1990s to early 2000s, disco-inspired dance genres became popular; many French house, funky house, and disco house songs broke into the charts.[11] Popular tracks such as Kylie Minogue's "Love at First Sight", Sophie Ellis-Bextor's "Take Me Home" and "Murder on the Dancefloor", Jamiroquai's "Little L", and Freemasons "Love on My Mind" all made the top ten of the UK Singles Chart. By this time, the nu-disco scene was heavily associated with disco house[7] and French house.[12]
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