The Evolution of Disco's Sound: Which Did You Like Better?

[garrybcoston]

From the early 70's, to the mid-70's, on to late 1979 and the early 80's, it can be said that disco evolved into numerous sound type phases.

At first, early to mid-70's, the disco sound seemed to be more funk/R&B/Soul oriented, with the emphasis not being so much on the beat, but the overall production, i.e., horns, strings, percussion, guitar, bass, etc.

As time moved on, the sound evolved with disco forming it's own identity in the mid-70's, with lush productions of strings, horns, congas, percussion, guitar, bass, and a little more emphasis on the drums (beat). Disco still had a "taste" of it's roots, soul/R&B/Funk, but this was slowly being shredded in favor of a more rhythmic, dance-oriented sound and beat which would quickly come to be identifiable as "disco." Don't forget about the sound from overseas, the techno induced sound of "Euro Disco" in which most of the compilations were without the lush heavy productions of their American counterparts.

Coming out of the mid-70's to the late 70's, more emphasis began to be put on the beat, the lush productions were still in (strings/horns/congas/percussion/bass/guitar,etc.), but the beat became more definite, pronounced, deeper and a little faster. Technology was evolving to the point that more synth oriented compositions and ideas were being implemented into disco albums; even the beat began to be produced on albums by a computer or drum machine vice a physical drummer.

During Disco's last gasp, that is, the late 1970's (late 1978 to about beginning of 1980), the emphasis began to shift almost strictly to the beat, which became more 4/4 beats, deeper, drum machine more often used vice the drummer, the productions were still used but it is evident in many disco songs that the traditional instruments initially used in the forefront of past disco productions (strings/horns/percussion/congas) were still used but with the sound not at the forefront (kept down and to a minimum), especially the strings. This was evidence that the traditional instruments used in disco productions were on the way out. Also, the use of synthesizers and synths were increased along with the use of strings and horns, which was also evidence that the traditional instruments were quickly being minimized and/or trashed in favor of new technology.

At the end, 1980 on, the disco scene/era ended, the name was changed, and the sound became much different as new technology, that is synthesizers were favored and used (as is today) over traditional instruments. In my opinion, and as a musician, I will say nothing will ever take the place of a human being putting his emotions into his instrument and conveying those emotions through the medium to share with other humans; this is special, and no synthesizer or computer will ever perfectly duplicate this feat.

My most favorite sound during the disco era was from about 1976 on up until the scene died. I love the dance era from then until now, that is, the sound. It's basically at times a dead sound in my opionion, that is, eerie and foreboding, and evil at times, but it's still music and good stuff. But again nothing will ever take the place of real musicians. So I loved all of the disco sound from about 1976 to 1980; what about you?

Garry

[EricHG23]

For me the disco sound that most captured me and speaks to me is I think similar to you--Eurodisco (which doesn't get the respect it deserves even among Disco fans I find) from the late 70s--the Moroder/Bob Esty/Cerrone type style. I think I most like the 77-78 lush disco style--with synths working side by side with strings, and with fairly fast BPMs--think Take Me Home, most of Once Upon a Time, LaRue's Confessions, Cerrone's Look for Love, Romeo and Juliet--etc. Coming close would be the slightly later more rock disco sound (Bad Girls is the easiest example of that--the album) and the Moroder sylte all synth "computer disco" (I feel Love, Chase, Here to Eternity, Cerrone's Supernature). I know most of these examples are probably too mainstream for fans here but I'm just using them as examples ;)

E

[Paulo]

At the end, 1980 on, the disco scene/era ended, the name was changed, and the sound became much different as new technology, that is synthesizers were favored and used (as is today) over traditional instruments. In my opinion, and as a musician, I will say nothing will ever take the place of a human being putting his emotions into his instrument and conveying those emotions through the medium to share with other humans; this is special, and no synthesizer or computer will ever perfectly duplicate this feat.

I became used to those 80's electronic noises and blips. Now I even like a lot of 80's euro-disco tracks like (for example) Pet Shop Boys' WEST END GIRLS or LOVE COMES QUICKLY, New Order's THE PERFECT KISS, Swing Out Sister's THE WAITING GAME or Desireless' VOYAGE VOYAGE, etc...

... but nothing can beat the sound of a full orchestra, the sound of real strings, brass and the sound of 70's keyboards (organ, clavinet, synths, etc...)

A good example is the song I'm listening right now: THE VAST MAJORITY's OCEAN'S APART (from Dimitri From Paris' Cocktail Disco CD)... beautiful strings, excelent drumming.

[garrybcoston]

I became used to those 80's electronic noises and blips. Now I even like a lot of 80's euro-disco tracks like (for example) Pet Shop Boys' WEST END GIRLS or LOVE COMES QUICKLY, New Order's THE PERFECT KISS, Swing Out Sister's THE WAITING GAME or Desireless' VOYAGE VOYAGE, etc...

... but nothing can beat the sound of a full orchestra, the sound of real strings, brass and the sound of 70's keyboards (organ, clavinet, synths, etc...)

A good example is the song I'm listening right now: THE VAST MAJORITY's OCEAN'S APART (from Dimitri From Paris' Cocktail Disco CD)... beautiful strings, excelent drumming.

Yeah I know what you're saying Paulo; after disco's orchestral sound was trash binged I got used to the new techno feel of the 80's and even beyond. But I always held a special place in my heart for the late 60's and 70's disco and even othe music genres that used the same instruments but were not disco. Nothing will take the place of the human experience and element yes!

I was really elated when a lot of compostions/music/songs in the mid 90's began to have violins and violas added in their compos along with the synth strings and synthesizer sounds (including drums). They got along quite well together thank you.

Now you hear more and more music going back to the traditional orchestral sound(s) of the 60's and 70's, and even disco is slowly edging its way back into club play.

Garry

[Dayna]

Once Upon a Time, Cerrone's Look for Love, Romeo and Juliet--etc. Cerrone's Supernature).

Wonderful examples..Very my taste........
Put some Madleen Kane in the mix , the black Diva's such as Loleatta,Evelyn King,Jean Carne,GRACE~!!
Diana of course,ETC.. add a dash of Hot Shot by Karen Young some Nile Rogers sprinkle some Salsoul, then top with the philly sound and you have the perfect Disco Stew~!!

[Disco Funk]

I come from the soul funk camp, so I prefer the earlier, R&B based grooves. While I do like a lot of songs of the euro-disco nature, as a sub-genre, I don't care for it, so if I see an produced by Giorgio Moroder, I'm not as likely to pick it up than something produced by, say, Norman Harris. For the euro stuff, I prefer the earlier, funky grooves like the early Silver Convention stuff. Outside of the Philly and Van McCoy sounds, my favorite grooves are the West Coast guys with Melvin Ragin on guitar and James Gadson on drums (eg mid-70s Motown records; Frankie Crocker's Heart & Soul projects; Freddie Perren-produced tracks); and the New York stuff produced by Warren Schatz, like The Brothers, Vicki Sue Robinson, and Gordon Grody.

For me, the Cerrone, Alec Constandinos, Boris Midney, etc... stuff is okay in small doses. Jacques Petrus - I only like track Fire Night Dance from the Peter Jacques Band; and the Revanche LP; Giorgio Moroder - some of the Donna Summer stuff; some of his own stuff like The Chase.

So like I mentioned above, anything soul or funk based is more collectible for me than the euro dance sound.

Disco Funk

[garrybcoston]

Wonderful examples..Very my taste........
Put some Madleen Kane in the mix , the black Diva's such as Loleatta,Evelyn King,Jean Carne,GRACE~!!
Diana of course,ETC.. add a dash of Hot Shot by Karen Young some Nile Rogers sprinkle some Salsoul, then top with the philly sound and you have the perfect Disco Stew~!!

I'm ready to eat Ms. Dayna; can you please fix me something?!:icon_razz:

[garrybcoston]

I come from the soul funk camp, so I prefer the earlier, R&B based grooves. While I do like a lot of songs of the euro-disco nature, as a sub-genre, I don't care for it, so if I see an produced by Giorgio Moroder, I'm not as likely to pick it up than something produced by, say, Norman Harris. For the euro stuff, I prefer the earlier, funky grooves like the early Silver Convention stuff. Outside of the Philly and Van McCoy sounds, my favorite grooves are the West Coast guys with Melvin Ragin on guitar and James Gadson on drums (eg mid-70s Motown records; Frankie Crocker's Heart & Soul projects; Freddie Perren-produced tracks); and the New York stuff produced by Warren Schatz, like The Brothers, Vicki Sue Robinson, and Gordon Grody.

For me, the Cerrone, Alec Constandinos, Boris Midney, etc... stuff is okay in small doses. Jacques Petrus - I only like track Fire Night Dance from the Peter Jacques Band; and the Revanche LP; Giorgio Moroder - some of the Donna Summer stuff; some of his own stuff like The Chase.

So like I mentioned above, anything soul or funk based is more collectible for me than the euro dance sound.

Disco Funk

Patrick Adams, who traditionally was a funk/soul/R&B guru, produced some great disco albums/records in the mid to late 70's; but you could still hear his roots in those albums though they were pure disco. I loved the "Lemon" album he produced which I think had the song "Phreek" on it.

Garry

[Disco Funk]

Patrick Adams, who traditionally was a funk/soul/R&B guru, produced some great disco albums/records in the mid to late 70's; but you could still hear his roots in those albums though they were pure disco. I loved the "Lemon" album he produced which I think had the song "Phreek" on it.

Garry

Patrick Adams is a guy who's stuff I like but don't buy everything with his name on it. I have the P&P compilations, and I like some of the stuff he did with Greg Carmichael like Bumble Bee Unlimited's songs, but I'd buy his stuff ahead of any euro-synth disco project.

Disco Funk

[FlyRobinFly]

At the end, 1980 on, the disco scene/era ended, the name was changed, and the sound became much different as new technology, that is synthesizers were favored and used (as is today) over traditional instruments. In my opinion, and as a musician, I will say nothing will ever take the place of a human being putting his emotions into his instrument and conveying those emotions through the medium to share with other humans; this is special, and no synthesizer or computer will ever perfectly duplicate this feat.

My most favorite sound during the disco era was from about 1976 on up until the scene died. I love the dance era from then until now, that is, the sound. It's basically at times a dead sound in my opionion, that is, eerie and foreboding, and evil at times, but it's still music and good stuff. But again nothing will ever take the place of real musicians. So I loved all of the disco sound from about 1976 to 1980; what about you?

Garry

Amen. (especially to the bolded above)

I think I love this period 76-80 more than anything including the Euro-disco sound.

[SandraDee]

Patrick Adams, who traditionally was a funk/soul/R&B guru, produced some great disco albums/records in the mid to late 70's; but you could still hear his roots in those albums though they were pure disco. I loved the "Lemon" album he produced which I think had the song "Phreek" on it.

Garry

The Lemon LP was produced by Kenny Lehman (who worked with Chic & Robin Beck), whereas Patrick did produce an LP by Phreeek, also in '78.

[garrybcoston]

The Lemon LP was produced by Kenny Lehman (who worked with Chic & Robin Beck), whereas Patrick did produce an LP by Phreeek, also in '78.

Hey Sandy, thanks for correcting me; I knew it was one or the other; guess I forgot to take my memory medicine when I posted that (can't believe us discoers are middle age and above save the youngsters who "yearn" to learn about the era and love the music; God bless em!).

I loved the Lemon album and the Phreek album; just couldn't remember which one Patrick produced. Don't know why I associated one with the other, I believe because I bought them both at the same time and Patrick was on Phreek and I associated him with Lemon as well.

O.k. Sandy, I got my funk on now as well as my disco; I'm ready to dance!

Garry

[Disco Funk]

Hey Sandy, thanks for correcting me; I knew it was one or the other; guess I forgot to take my memory medicine when I posted that (can't believe us discoers are middle age and above save the youngsters who "yearn" to learn about the era and love the music; God bless em!).

I loved the Lemon album and the Phreek album; just couldn't remember which one Patrick produced. Don't know why I associated one with the other, I believe because I bought them both at the same time and Patrick was on Phreek and I associated him with Lemon as well.

O.k. Sandy, I got my funk on now as well as my disco; I'm ready to dance!

Garry

Lemon did do a couple of tracks with the word 'Freak' in the title: 'Freak On' and 'A-freak-a'. I think that's how they spelled it. So you've just got 'freak'/'phreek' on the mind.

I should mention that while I'm not buying everything Patrick Adams in the later years, I do enjoy his earlier productions. That compilation CD that came out that included tracks like ESP and Executive Suite's 'You Believed In Me' is definitely highly recommended if you haven't already got it.

Disco Funk

[Cdnbob]

For me I think I'd choose the period from about 1977 to about 1980/81 as being my overall favourite era.

I enjoyed HiNRG stuff from the early 80's (Earlene Bentley/Evelyn Thomas/Miquel Brown) and early House music in the mid to late 80's (SNAP, Ten City, Inner City), I also got into funk/r&b stuff from the 80's (Starpoint, Atlantic Starr, The Deele, Midnight Starr, Janet Jackson). I've never really got into styles like trance, hip-hop, ambient, etc - think I'm starting to show my age :icon_razz:

I can't stand today's rap or r&b its all starting to sound the same to me. I think dance music needs to swing back more to its disco roots IMHO and start using real instruments again.

[garrybcoston]

For me I think I'd choose the period from about 1977 to about 1980/81 as being my overall favourite era.

I enjoyed HiNRG stuff from the early 80's (Earlene Bentley/Evelyn Thomas/Miquel Brown) and early House music in the mid to late 80's (SNAP, Ten City, Inner City), I also got into funk/r&b stuff from the 80's (Starpoint, Atlantic Starr, The Deele, Midnight Starr, Janet Jackson). I've never really got into styles like trance, hip-hop, ambient, etc - think I'm starting to show my age :icon_razz:

I can't stand today's rap or r&b its all starting to sound the same to me. I think dance music needs to swing back more to its disco roots IMHO and start using real instruments again.

I'll drink to that cdnbob! And they're slowly reverting back to that; just listen to some of the compositions in top 40 and popular music.

Garry

[markydefad]

Having been immersed compiling the disco charts from 1974-1976 for the past several years, I find myself totally in love with the early Philly/Motown R&B influenced stuff of this early era of disco.....I do love almost everything from the Moroder-factory....but this early stuff is so soulful yet charming and sophisticated and MUSICAL with seemingly limitless possibilities-- that I'm thinking this is my fave period.....even though I actually danced more in the later years of disco....My Troc years didn't start until 1979.....