The BIGGEST 80s Disco Dance Music (Vol 1-32)
Beaulah Mozie
Reflecting on the top dance songs of 2003, it is clear that this year was a significant milestone in the evolution of dance music. The remixes from this year showcased the immense talent and creativity of the DJs who could skillfully transform popular songs into club anthems. The year 2003 will forever be remembered for these unforgettable remixes that continue to move hearts and feet on the dance floor.
I listened to one of your Pride mixes. WOW! Flawless mixes and song selections. For a classic disco/dance fan like myself, this was perfect. I loved the re-dos of some of my favorite disco dance songs. Keep up the great work. -Paul S.
When Bee Gees manager Robert Stigwood was producing a movie about a New York disco scene, the working title for the film at that time was Saturday Night. Stigwood asked the group to write a song using that name as a title, but the Bee Gees disliked it. They had already written a song called "Night Fever", so the group convinced Stigwood to use that and change the film to Saturday Night Fever.[6]
The string intro of "Night Fever" was inspired by "Theme from A Summer Place" by Percy Faith, according to keyboardist Blue Weaver when he was performing it one morning at the sessions and Barry Gibb walked in and heard the new idea for this song.[6] As Weaver explains the history behind this song:
...'Night Fever' started off because Barry walked in one morning when I was trying to work out something. I always wanted to do a disco version of Theme from A Summer Place by the Percy Faith Orchestra or something - it was a big hit in the Sixties. I was playing that, and Barry said, 'What was that?' and I said, 'Theme from A Summer Place', and Barry said, 'No, it wasn't'. It was new. Barry heard the idea - I was playing it on a string synthesizer and sang the riff over it.[7]
Barry Gibb, Robin Gibb and Maurice Gibb completed the lyrics for "Night Fever" sitting on a staircase (reminiscent of their first international hit "New York Mining Disaster 1941", which was written also in a staircase back in 1967).[7]
The Bee Gees began recording this song by April 1977 in France and finishing it in September the same year. A demo of "Night Fever" with some instrumental and vocals heard on it exists and was available to download on Rhino Records' website in 2009 or earlier.[2]
...For 'Night Fever' the group had the hook-line and rhythm - they usually pat their legs to set up a song's rhythm when they first sing it - and parts of the verses. They had the emotion, same as on the record. We put down battery first, so the feel was locked in. The electric piano part was put on before the bass, then the heavy guitar parts. We had the sound, but we needed something there to shake it so we used the thunder sound.[7]
According to Billboard, it has a "jumping disco beat" and a "smooth falsetto lead" vocal.[8] Cash Box similarly said that it has "dancin' beat, scratchy guitar, sweeping orchestration and the familiar falsetto."[9] Record World predicted that it would become "another dance tempo hit" for the Bee Gees.[10]
A music video was made for the song in 1978, but not shown to the public until 26 years later, in 2004.[citation needed] It features the brothers singing the song in a darkened studio, layered over background video filmed while driving along "Motel Row" on Collins Avenue, a 3-mile (5 km) motel strip in what is now Sunny Isles Beach, Florida.[13] Most of the motels which appear in the video are now closed or demolished, including several whose names are reminiscent of Las Vegas resorts (Castaways, Desert Inn, Sahara, Golden Nugget).[citation needed]
The music video copies many elements of the movie Saturday Night Fever and satirizes the same. At the beginning of the video, the DJ plays the song, while the protagonist and his girlfriend in a tool shop look around and watch a radio. Then prepare for a visit to a disco and dance there in the rest of the plot.[61]
A classic from beatmania 3rdMIX, remixed by the real disco tracker(?) tiger YAMATO. He is a rather scary person who is usually hard to approach, and I had a hard time talking to him.
With his beloved MC500 and DX-7, he was able to finish the job with a frighteningly fast hand.
Other than the information in his profile, nothing else is known about him, and we look forward to seeing him unmasked in the future.
The Eurobeat movement in the dance scene exploded in the '80s, but in the '90s it developed into a very different style from that of the '80s.
LUV TO ME, included in this edition of beatmania IIDX, is a masterpiece that allows the player to enjoy the concentrated flavor of the '90s Eurobeat scene while maintaining a high level of difficulty for the game.
Although it has now been arranged in multiple ways and used in various music games, the essence and brilliance of this powerful Eurobeat song from this game aren't diminished.
This movie was made using only animations that I received as material from beatmania, 2ndMix, and 3rdMix, and is also used as a generic video for dance songs.
The materials were the best in this respect because they are complete animations, but since the length of each animation is very short, they had to be used over and over again. In doing so, I tried to be creative in the way I combined the materials to see how I could make them not seem monotonous.
Another point I emphasized was the sense of speed with a slight sense of intoxication.
I have produced four other similar movies, and it would be great if the traditional beatmania fans and enthusiasts in particular would be pleased with them.
Like a scene right out of a war-torn love story, Tyler wakes up on an aircraft carrier in a day dreamy mood. "You live in my dream state/ Relocate my fantasy/ I stay in reality/ You live in my dream state/ Anytime I count sheep/ That's the only time we make up, make up," he sings as he gets ready for his day. ASAP Rocky, as one of Tyler's shipmates, passes through a couple of times as Tyler makes his way throughout the day.
Later in the video, Tyler looks out from a window below deck and into the blue waters of the ocean. Miles away, Kali Uchis appears in a small boat wearing a yellow rain coat and begins singing the chorus. Eventually, Tyler ends up on the deck of the ship rapping as a group of men march around in red pants and matching hats.
The video ends in the most Tyler way possible. Through his last verse, he appears wearing a white sheet over himself with only holes for his eyes and a bucket hat on his head. Ghost Tyler raps until he gets the sheet pulled off him and the viewer gets a surprise.
This is not the first time Tyler and Uchis team up musically. Other collabs include "Perfect" and "After The Storm." This past weekend both artists played at Lollapalooza in Chicago, where Uchis was one of the standout female acts.
After 25 years, Coachella is like a live music holiday. Every year, thousands of people from all walks of life descend upon the Empire Polo Club in Indio, California to enjoy artists whose music is as diverse as the crowd assembled. No matter what style anyone prefers, an artist they love is playing at Coachella.
This year alone, attendees can enjoy the classic Britpop sounds of Blur, trendy house music beats from John Summit, a reunion of the ska-punk icons, Sublime (featuring the late frontman's son, Jakob Nowell), and a headlining set from enigmatic rapper Tyler, The Creator.
The people of Coachella revel in these eclectic and epic offerings. Approximately 125,000 people per day touch down on the grass at the Empire Polo Club, and upwards of 100,000 have been reported to gather for a single set. And while hundreds of thousands of people are on the ground worshiping the music, 40 million people are watching the magic through YouTube, wishing they were there.
Josh Brooks has attended every year of Coachella since the first edition in 1999, and credits the festival for his career in music. To date, he's worked as a booking agent, tour manager, and DJ who has played Coachella on several occasions. In 2023, he played a slot during the after-hours silent disco in the campgrounds.
Back in 1999, Brooks had just started college at UCLA and was studying physical science, geology, and geography. He went to Coachella on a whim because tickets were $50 per day to see Rage Against The Machine, Tool, Beck, Morrissey, and the Chemical Brothers. Everything in his musical life snowballed from there.
Every year at Coachella, you see a handful of parents celebrating live music with their children. In fact, there are meetups for families at the festival. Among this somewhat unusual sight, you'll find Mikey Glazer and his 5-year-old son, Axwell.
Glazer has been attending Coachella since 2003, and used to be one of the festival's more typical attendees (a 20-something attending for the party and the tunes). Now, at age 47, Coachella has become his yearly family vacation. Glazer and his wife, Melissa, brought Axwell to the festival four times: three in the flesh, and once in utero.
During the pandemic, Mikey, Melissa, and Axwell listened to music as a family. Especially electronic artists like Skrillex and Tisto. (Axwell is also the artist moniker of one of the members of the GRAMMY-nominated electronic trio Swedish House Mafia.) When the family went to Coachella together, they saw Axwell express that love of music in full force.
When he comes to Coachella, he does the same thing, except instead of creating a list over the course of a year, he does it for three days. In the weeks leading up to the festival, he listens to every one of the 150 artists performing at the festival and gives them all a ranking.
Throughout her life, Ashton Aellarose has lived in many places: Northern California, North Carolina, Colorado, even a few extended stints abroad. But no matter where she was residing, Aellarose would see the Coachella lineup in copies of SPIN magazine and dream of going somewhere with such vast musical offerings.
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