Mp3 Disco Song

[Mary Hargrove]

Discois a music genre and a subculture born out of a dance floor and pioneered by Black musicians, DJs and producers in the 1970s and early 1980s. The word disco comes from the Italian discoteca, meaning "record collection, record library," and was popularized by the French discothque, a "nightclub with recorded music for dancing" in the 1950s.

Born out of a response to shifting political, social and sexual revolutions, disco culture and the corresponding underground scene became central to queer and trans liberation movements and post-Civil-Rights racial integration.

The disco genre is unique combining elements of soul, funk, gospel and electronic music to make for uptempo danceable rhythms characterized by a song length that extends beyond the traditional 3-to-4-minute timestamp.

The entire album? So that would mean "I'm Gonna Crawl", a Blues tune if I've ever heard one is actually a Disco song? Then again, I don't hear any Disco in "Fool In the Rain" either. What follows the whistle is Samba. Not all music that you can dance to is considered "Disco".

The one tune that requires no thought, that immediately comes to mind is the last section of keyboards in Carouselambra. That keyboard intro and main riff of that section sounds a little disco (because it's got a little dance groove to it), but progresses into another animal by the songs end. My second entry would be Trampled Underfoot, again-only for it's dance/boggie groove. Not exactly dico though..

Same goes for the Stones. I saw a Mick Jagger interview for the "Some Girls" concert DVD and he addresses "Miss You" in particular, "the only thing the song has in common with disco is the 4/4 time." Not sure I buy that completely, they couldn't (Mick especially) have avoided the disco influence.

John Paul Jones' "Chilli Sauce" is a dire track! Trampled Underfoot is the closest thing to Stevie Wonder's "Superstition" and probably the nearest to a dance track. "Fool in the Rain" is latin / samba - not disco. Nothing that Zep did was disco. I think their fans would have started burning their records if they tried. Remember Queen's "Hot Space" album? But that was Freddie Mercury indulging himself.

I would say none fit the bill as being disco & I say that as someone who likes disco or some of it at least. "Carouselambra" does have a part that sounds a bit like Giorgio Moroder on Donna Summer's "I Feel Love" but then I can say it also sounds like Gary Numan's "Are Friends Electric" which wasn't disco. It's just similar instruments as far as keyboards but they're 3 different genres of music: rock/disco/electronica. I even hear a bit of Stevie Wonder's "Sir Duke" in there & I'd call that pop & that song is a tribute to the big band era. And "Trampled Underfoot" is funk influenced, not disco, as is "The Crunge". Funk & disco are not the same.

"Carouselambra" reminds me of a song that came out a few years later, New Order's "Blue Monday" which I really don't how to classify either or New Order in general. The songs don't sound alike but there is a similar approach. The same with The Cure's "The Walk".

First off, I want to say that while I'm not a huge disco fan, the music didn't come out of nowhere - it had roots in soul and funk, and helped give birth to rap and hip-hop. So Zep doesn't need to be defended against disco.

Fool in the Rain is IMHO one of the band's most misunderstood songs. The instrumental break with the whistle isn't disco. It's clearly Latin inspired, and my guess is that it's Brazilian in inspiration - that whistle and percussion can be found (in various forms) in Brazilian music, and UK musicians like Plant, who were huge soccer/football fans, would've been influenced by the Pele-fueled revival of Brazilian culture on the world stage in the in the '70s. (Robert was photographed wearing a Brazilian football jersey at the 1980 rehearsals for the Tour over Europe).

Ah, but at the time (in the mid-70's) there was a lot less distinction between Disco and Funk, sure lines were drawn in the sand between Parliment and Funkadelic, but where you draw a line for the Bowie/Lennon collaboration of "Fame?" Of course it all turned to cocaine-dusted shit by the time Studio 54 got hot. Perhaps it's that Funk kept the R&B swing, where Disco had much more of a techno-gloss.

You got to remember too that "Funk" has been a term attached to "down & dirty music" (per Jelly Roll Morton) for well over 110 years. One of the most notorious of the New Orleans Storeyville dance venues in the early 20th century was called "Funky Butt Hall." So you're right-- The Crunge is definitely R&B Funk.

The song's name is an acronym and comes from the lyrics in its chorus, in which a woman is described as "D.I.S.C.O.". In other words, each letter of the word standing for a certain quality, except "O", which simply leads to singing "oh-oh-oh" ("She is D, delirious / She is I, incredible / She is S, superficial / She is C, complicated / She is oh-oh-oh").

British electronic music group N-Trance released a single based on the original hit with added rap lyrics not found in the original, written by Kevin O'Toole, Dale Longworth, and Ricardo da Force. The cover was released in March 1997 as the first single from their second album, Happy Hour (1997), and reached number 11 on the UK Singles Chart.

Alan Jones from Music Week commented, "Once again Ricardo da Force's new and original raps replace most of the verses, while the rest of the group slot in around him. The song adapts rather less well than Stayin' Alive but will surely give them another hit."[23]

In 2006, The X Factor former contestant Chico Slimani released an alternative version as a follow-up to his number 1 hit "It's Chico Time". His version of D.I.S.C.O. reached number 24 on the UK Singles Chart.

In 2011, the song was sampled by Israeli musical duo TYP (also known as The Young Professionals) for their track "D.I.S.C.O." from their album 9am to 5pm, 5pm to Whenever. The music video features Uriel Yekutiel, an Israeli gay icon.[40]

The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.

And it's finally time for my last explanation of a Panic! at the Disco song from Death of a Bachelor. It's been a while in coming, but it's finally time to wrap up this album. Ironically, we'll be wrapping it up with the album's first song: "Victorious."

The Intro for "Victorious" starts out "Tonight we are victorious / Champagne pouring over us / All my friends--we're glorious / Tonight we are victorious." This same stanza is repeated throughout the song, and it embodies the main point of the song: to encourage and pump up.

In the Pre-Chorus, he explains, "My touch is black and poisonous / And nothing like my punch-drunk kiss." This all seems to be a reference to the surge of power he feels, due to an extreme boost of self-confidence. He encourages his audience to "Drink the water, drink the wine" and to join him.

The Chorus is easy enough to decipher and continues to develop the sense of mania this song creates so well: "Oh, we gotta turn up the crazy / Livin' like a washed up celebrity / Shooting fireworks like it's the Fourth of July / Until we feel alright." Washed-up celebrities are known for living lives of excess as they try to "regain their glory days" (or for whatever other reason--I don't know any washed up celebrities) and Urie wishes only to mimic them as he encourages his partiers to grow their self-confidences and to keep doing what they feel like doing.

The last unique stanza of the song (the Bridge is a hodge-podge of the intro and outro lyrics) is the Second Verse. In it, Urie sings, "I'm like a scarf trick. It's all up the sleeve / I taste like magic, waves that swallow quick and deep / Throw the bait, catch the shark, bleed the water red / Fifty words for murder, and I'm every one of them." After listening to how he sings these lines, notice that the lyrics largely mean nothing. This is another example of Urie sacrificing direct meaning for an overall feeling that combines with the music to send listeners all the confidence they can derive from "Victorious."

And that's what "Victorious" is about. It's about confidence--not necessarily confidence in anything--but confidence in general. It's about the desire to go for something more and the knowledge that one can't be stopped.

Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!

After the hohumness of 1976 and 1977, it's nice to come upon a Best Original Song line-up with not just one or two listenable nominees. In fact, 45 years of Original Song in, 1978 marks one of the stronger categories I've reviewed.

This year, the Academy chose to reward "Last Dance," the plenty enjoyable disco classic, heavenly performed by the late Donna Summer. Sure, the song debuted in a crummy picture, the silly Thank God It's Friday, which marked one of Motown Productions' lesser forays into the world of cinema. The tune is still unimpeachably great, composed by the brilliant Paul Jbara, who delivered this and "It's Raining Men," among other records, before tragically dying from AIDS complications in the early '90s.

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