Chart Hit [Level 6]
I wonder what is the longest early 70's disco song?
The longest ones I know of are:
Creative Source - Who Is He & What Is He To You 1973 (11:44)
Isaac Hayes - Persuit Of The Pimpmobile 1974 (9:07)
Temptations - Papa Was A Rolling Stone 1972 (11:47) (More so a funk song than disco but I'll include it anyway)
Deodato - Super Strut 1974 (9:31)
They are the longest ones I know of, does anyone know of any longer early 70's disco songs?
Chart Hit [Level 6]
Love To Love You Baby - Donna Summer (16:48)
Try Me, I Know We Can Make It - Donna Summer
(17:57)
I can't think of any other songs that is
longer than these. My mother said that in
the discotheques, the D.Js would extend
Try Me to the max. So instead of 17 minutes,
you may be dancing for 20min- a half an hour.
DELIGHTFUL!
Acetate [Level 1]
If you include both sides of Romeo and Juliet, then I would think that would be the one of the longest disco compositions (perhaps 30 minutes).
Chart Hit [Level 6]
Funky Dude,
Once I've seen the "Longest Disco Song Post"
then I realized that I made a mistake posting
in the "early" list. Otherwise, I can't think
of any "Early Long Disco Songs".
DELIGHTFUL!
Acetate [Level 1]
I remember that "here comes that sound again"
was over 16 minutes long.
Chart Hit [Level 6]
On 2001-11-09 21:17, GROOVYGUCCIMAMA wrote:
I remember that "here comes that sound again"
was over 16 minutes long.
Hey GROOVYGUCCIMAMA, I was wondering what was the name of the artist who sings "Here Comes That Sound Again" and which year did it came out?
Underground Hit [Level 5]
Hello everybody:
Here Comes That Sound is from Love De Luxe and, as far as I remember it was released in 1979 (maybe 1980).
I can't really remember how long these following songs are, but probably they are bigger than those you mentioned:
CERRONE:
supernature
SANTA ESMERALDA:
the wages of sin (their best work)
the house of the rising sun
don't let me be misunderstood
(all 3 occupy the whole A side)
EL COCO
cocomotion
Bye
Paulo
Underground Hit [Level 5]
Hi Funky
Forgive my previous post. I also didn't see the word EARLY long disco song.
Paulo
No Longer Charting
Just out of interest, did anyone of the former DJs on this board ever generally play more than 5 minutes of any one song?
I personally feel that the producers went wrong when they started to extend intros beyond 24 bars, or possibly 32 bars.
Hmmm, now where are those 12"s with the 3 minute intros?
Platinum Record [Level 8]
I always thought the Top 40 oriented clubs played only a few minutes of each song and mixed out at the first break, however the underground clubs seemed to play the songs longer.
No Longer Charting
NrgBeat: Very interesting. You'd have thought that it would be the other way around.After all, there's only so many hits, so why not spread 'em out?
In the UK it was common for jocks to play virtually the whole 12" (out of sheer laziness!!) 'cos mixing was not really done by the mass of DJs in the Disco era.
Personally, 3-4 minutes was enough of most records for me. That way I could play all the hits plus all the new records I wanted to play too.
Gold Record [Level 7]
If the record was a hit I could 'work'that record and the floor for ten minutes easy, I had two copies of every hit song, in a good nite when I was inspired, I would remix my own version right there live, I only wish now I had all those tapes. Oh well, who knew.
Double Platinum Record [Level 9]
To Quinny: Yes, all the time. Had no problem with it at all. AAMOF, I refused to chop all the songs up just because of length AND I hated the way a lot of dj's were mixing out on the breaks, probably the strongest part of the song.
To FunkyDude: "Get Ready", Rare Earth, 21:30, from 1969. A "live" take on The Temptations hit but workable up to the drummer's solo.
_________________
If It Don't Mean a Thing, Would You Dance to My Music
Nicky
<font size=-1>[ This Message was edited by: NickNack on 2002-09-04 20:19 ]</font>
Underground Hit [Level 5]
.. sadly UK djs had it all wrong .. but for the right reasons .. the UK has a strong club culture .. most urban teenagers in the UK find themselves in a nightclub every weekend .. a long tradition going back to the 1950s ( and probably earlier ) .. so UK djs needed to keep the popular hits spinning .. and quickly, as back in the 70s all clubs would close at 2.00am .. so there was no requirement for a long extended dance mix .. The USA was very different .. clubs were open all night, the crowds were more discerning, djs needed to create differing moods throughout the night, as well as visit the bathroom occasionally .. everyone whooped, whistled, stomped and cheered when a good disco break was used .. so US djs would use 2 copies and extend the breaks, or extend the introductions and create their own remixes using different instrumental breaks over & into each other .. creating long soundscapes that were far beyond the understanding of a casual UK club audience .. so in the USA clever & imaginative club djs took on almost legendary status ( Tony Humphries / Larry Levan etc .. ) .. UK clubbers & djs were baffled by these 20 minute LP disco tracks emerging from America .. which is probably why Alec R Costandinos & Boris Midney had very limited success in British nightclubs ..
No Longer Charting
Important point Ashley.Originally Written by ashley
That UK club culture was important and SO strong and it also illustrates the difference between the commercial discos who were playing the hits and the upfront serious UK clubbers who's knowledge and passion still resounds to this day. So a commercial jobbing DJ would have to play what the punters wanted, while a serious DJ would take the crowd on a journey.
Double Platinum Record [Level 9]
'Eurodisco' acts like these got little support from underground UK clubs because they were always obsessed with everything being black & funky (nothing wrong with funky stuff I hasten to add). What I love about the US clubs (certainly the quality gay ones anyway) was that they were completely open-minded & mixed disco music from all genres; they'd think nothing of playing Hall & Oates followed by Cerrone followed by Crown Heights Affair for example. Maybe more commercial UK clubs would've played an eclectic mix like this but only if the tracks were in the charts & known to most dancers at the time. That's the way I see it. Eurodisco tracks only seemed to become successful here if holidaymakers heard them while away in the summer which meant that generally it was the tackier end of Eurodisco that made it here (Boney M & Ottowan for example, sorry Boney M & Ottowan fans :icon_confused:).
...ya gotta beat the street......
No Longer Charting
Noooo....the reason was quite simple .. it was because the records were in the main awful, very pop orientated and often one step removed from "James Last Goes Disco" or else incredibly poppy. Mainland Europe always had a very rich stream of that kind of stuff and only a handful of acts or producers rose above it.
Which "underground UK clubs" Sandy? The Gay clubs ? Nope. The serious UK club scene ? Nope.
A look at playlists of the time proves that the UK clubs were playing better and mostly US tracks by then.
Double Platinum Record [Level 9]
I don't what you mean by James Last Goes Disco. There was lots of brilliant eurodisco like Chocolats, Cerrone, Love & Kisses, Revanche, Crystal Grass, Madleen Kane, Don Ray, Voyage, Baciotti and hundreds of others that sound nothing like James Last to me. Simon, you're just such a typical example of a British DJ who's prejudiced against euro disco; what you've just said proves my point. Even if some tracks/acts were poppy, what's wrong with that? Disco can be good quality & commercial IMO; I'm sorry Simon but your comments strike me as needlessly dismissive & you sound like one of those 'soul snobs' that have always proliferated on the UK dance scene.
Last edited by SandraDee; November 5th, 2007 at 05:20 PM.
...ya gotta beat the street......
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