New "What's in My Bag?" Episode with Giorgio Moroder

Posted by Amoebite, April 4, 2016 07:42pm | Post a Comment

Giorgio Moroder Amoeba What's In My Bag?

"There is America, there is England, and there is Sweden, and slowly they are taking over." You heard it here first folks: Sweden is taking over the US and England! Well, at least according to legendary producer/artist Giorgio Moroder, as he talks about the incredible musical talent coming from the Scandinavian country. Amoeba San Francisco, recently had the pleasure of hosting a signing of the disco/electronic-music pioneer's latest album, Deja Vu. Beforehand, the affable Moroder went record shopping at the store and shared his picks with us.

In 1966 Moroder began releasing singles under the name Giorgio, working in studios in Berlin and Munich before beginning a long and fruitful partnership with musician/producer Pete Bellotte and disco diva Donna Summer for her debut LP, Lady of the Night. A year later Summer's "Love to Love You Baby" became an international hit.

Giorgio Moroder Deja Vu

In 1978 Moroder began delving into film music, crafting original scores for FoxesAmerican GigoloCat People, and Scarface, among others. The following year he released his first solo album, E=MC². Over the course of much of the '90s and '00s, Moroder scored video games, films, and worked on assorted non-musical projects. In 2013, he contributed to Daft Punk's Random Access Memories album. His most recent album, Deja Vu, features guest vocalists Kylie Minogue, Britney Spears, Charli XCX, Sia, and Kelis. Moroder also DJs on the international circuit, with his next gig planned for summer 2016 in Paris.

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May the Fourth -- A Look at Star Bars and Deep Space Discos

Posted by Eric Brightwell, May 4, 2015 11:27am | Post a Comment

The original Star Wars had a huge impact on pop culture. As a child, nothing in the film had more impact on me than the cantina scene -- and judging from the changes in dance music and imitations that followed I wasn't alone. What better occasion to reflect on the film's impact than May the Fourth, also celebrated as Star Wars Day.


Star Wars was released on 25 May 1977. I was probably three years old when I saw it in the theater because my fourth birthday followed a couple of weeks later and there were Star Wars dolls* emerging from the middle of a birthday bundt cake. After The Empire Strikes Back, George Lucas would increasingly strain to appeal directly to children by introducing cuddly aliens and increasingly relying on cartoonish CGI but for me and many other children, Star Wars was already deeply appealing, dark and sometimes frightening as it was. 

For comparative mythologist Joseph Campbell, the cantina scene was the "threshold crossing" in the "hero's journey." For me it was a bit like viewing an ethnographic bestiary -- or a Halloween party (in the 1970s, Halloween hadn't yet been hijacked by adults and turned into streetwalker cosplay). One of the cheif appeals of Star Wars was its mystery and world building -- something which the expansion of the franchise would later explain away with banal backstories -- but on full display in the cantina. Of all the characters, 
Greedo was addressed by a name. The rest of the assembled wore no pageant sashes, name tags, or hash tags and aside from the viewers' understandings of evolution there were few clues as to the conditions of their home worlds. 
LAX Theme Building

The Star Wars cantina was what I wish Encounter in LAX's Theme Building had been, and what it will be if they get it right when it's re-opened. What the cantina wasn't was every lame, uninspired hive of pretense and conformity which bills itself (despite having a liquor license) as a "speakeasy."  It wasn't illuminated by Edison bulbs, the wines weren't listed on a chalk board, there was no unfinished wooden sign on the building's exterior describing it as an apothecary, and it was probably cash only. The bartender wasn't a lumbersexual and he didn't spend twenty minutes rubbing herbs on a mason jar in the name of "mixology."

New York State of Mind Amoeblog #31: Rooftop Films, Bootie NYC, Tom Jones, Great Googa Mooga, Manhattan Cocktail Classic +

Posted by Billyjam, May 15, 2013 12:44pm | Post a Comment

Since the NY State of Mind Amoeblog #29, in which I previewed a bunch of the concerts and events (mostly outdoor and mostly free) over the coming months in New York City, was posted a couple of weeks ago, several more concerts and events have been announced for the fun summer season ahead. These include the lineup for the concerts in Prospect Park and the Rooftop Films series, which just kicked off last weekend and runs through August with a non-stop program of great movies screened on rooftops round the city. The mission statement of the oft-lauded non-profit who present the Rooftop Film series is "to engage diverse communities by showing independent movies in outdoor locations" and this they do each weekend to everyone's enjoyment. This weekend, for example, they'll screen the New York premiere of the Reuben Atlas-directed documentary Brothers Hypnotic about the collective lives of the eight members of the Hypnotic Brass Ensemble who will perform a live set following the 9pm screening. This free event happens Friday night (May 17th) at Outdoors at MetroTech Commons, Bridge Street & Johnson Street in Downtown Brooklyn. The following night (also in Brooklyn but only two subway stops from Manhattan) will be New York Mayhem - a series of short underground films by local filmmakers about their city. Unlike the previous night however there is a charge for this one of $13 general admission. Saturday, May 18th between 8pm and 1am at The rooftops of Industry City, 220 36th Street at 3rd Avenue, Sunset Park, Brooklyn, NY 11232. For more information, visit the Rooftop Films website.

Meanwhile, the Prospect Park concerts will include such outdoor shows as Big Boi, Phony Ppl, and D-Nice on June 20th, The Tiger Lillies on July 18th, and The Waterboys on July 19th. Most are 7pm shows and free or charge a minimal (few bucks) entrance fee. More info here. In Prospect Park this weekend, but not part of the aforementioned concert series, is the music, food, and drink weekend festival known as the Great GoogaMooga. The outdoor weekend-long event includes performances from hometown funk/soul heroes Sharon Jones & the Dap-Kings, The Flaming Lips, De La Soul, The Darkness, Jovanotti, Matt & Kim, the Yeah Yeah Yeahs, and many more acts who will provide musical entertainment between all the food and drink (beer and wine primarily, but they have whiskey and some other hard liquor too) being served up from the likes of such participating restaurants as Brooklyn's Pork Slope and Manhattan's Pig and Khao. For full eatery information, concert schedules, and tickets click here.

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(Wherein Spring Fever takes over the jukebox.)

Posted by Job O Brother, March 28, 2011 04:25pm | Post a Comment
80's keyboard

Well my little dreamlets, we’re ten days into Spring, and it’s already clear to me what music is going to carry me through into Summer – it’s all about synthetics. Synthpop, that is, of the late 70’s and early 80’s variety.

This amuses me, because for much of my life I detested a lot of the music I’m going to celebrate here. A lot of the hatred stemmed from being so unhappy in the 1980’s; by association, the music “sounded” like unhappiness. Think of it this way: When was the last time you were taking a shower and felt like listening to the soundtrack to Psycho? Exactly.

Some say that synthpop began when Giorgio Moroder teamed up with Donna Summer and created the hit single "I Feel Love." Calling this the “start” of synthpop is convenient, but an over-simplification, because so much came before that informed it. What can be said is that the song was influential, both in terms of inspiring artists who would go on to develop the synthpop genre, and give mainstream audiences a taste for it.

What follows are some synthpop songs that bring me joy. Many can be claimed by other sub-genres of music, but they're all related. Some are guilty pleasures – the sonic equivalent to a Snickers bar, in that they are bad for me, but make me feel great for the duration I’m imbibing – and others I stand by as solid accomplishments. I’m also putting a spell on them: listening to these songs will make you feel a little ticklish in the deepest part of your brain, which will result in your not hating your fellow man as much (even though they totally deserve your hate). Enjoy!

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Charanjit Singh- 10 Ragas to a Disco Beat Reviewed by Gomez Comes Alive

Posted by Gomez Comes Alive!, June 14, 2010 12:55am | Post a Comment
Charanjit Singh
There has been much talk about 10 Ragas to a Disco Beat! People have been debating whether Charanjit Singh’s 1982 release predated Acid House or was influenced by it. There was also talk that perhaps it was a modern group posing as “obscure” Indian artist. (Aphex Twin was rumored to be behind this.) The worst thing I read was from a guy who couldn’t possibly understand how someone from India could possibly could get all those synthesizers and drum machines that he used to create this album. I can answer that: It was simple, he was a successful musician and he bought them…and yes, India has electricity, too!

These are the same arguments the imperialist mindset tends to have about indigenous people -- for instance, the argument that intelligent beings from another planet must have created the pyramids because indigenous people couldn’t possibly done it on their own. The truth is that Indian musicians have always been some of the best musicians and most complex composers. They deal with time signatures, scales and overall talent that the Western world cannot comprehend, so the fact that 10 Ragas To A Disco Beat predates some important firsts in the electronic music world does not surprise me one bit.
Charanjit Singh
Much of what appears on this album are Indian Ragas set to Giorgio Moroder inspired arpeggiated synth lines with the same primitive drum programming that was the norm at the time. Again, one can argue that India’s pop world was behind the West, but perhaps because the Western world is so quick to abandon any musical movement for the next big thing. The disco sounds of Moroder might have exploded on a baseball field in Detroit back in 1979, but to the rest of the world his importance was still being felt. Even Brits such as Duran Duran and The Human League, who in 1981 were considered cutting edge, were still worshiping at the altar of Moroder.

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