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Well slice me nice, Eurodisco legend Fancy is coming to Orange County!

Posted by Eric Brightwell, December 23, 2013 12:56pm | Post a Comment
Fancy, the singer of hits including "Angel Eyes," "Bolero," "China Blue," "Cold as Ice," "Flames of Blue," "Lady of Ice," "Latin Fire," "Slice me Nice" and more is coming to the US for the first time ever in January, 2014. He'll be playing at R3 Social Lounge in Stanton (North Orange County/Little Saigon) on the 17th of that month. The event will be DJed by Ian "DJ BPM" Nguyen and hosted by TQ. Get your tickets by clicking here. For all you Los Angeles Italo-heads who think driving to OC is harder than crossing the Sahara -- it's only about 40 minutes from Downtown Los Angeles to Stanton. It's also served by several OCTA lines so quit making excuses.


For those unfamiliar with Fancy, he’s also written material for other artists, most notably, Grant Miller (who was introduced to Fancy by none other than Divine!), and produced notable Italo-disco hits for artists including Linda Jo Rizzo (formerly of Bobby Orlando's act, The Flirts), and Mozzart. Scoring his friends Siegfried & Roy's stage shows has exposed him to an audience who's nonetheless unaware of his identity but his greatest stuff is his solo work so here's a brief history...

Manfred Alois Segieth (or is it Manfred Aulhausen -- details about Eurodisco performers are often quite hazy) was born on July 7, 1946 in München, Germany. The son of a practically-minded craftsmen, he was enrolled in a Capuchin school where he trained to become a monk. However, a change of plans became necessary after the twelve-year-old heard schlager star Ted Harold’s “Moonlight” and subsequently picked up the guitar.

After high school, Manfred formed a Cliff Richard & the Shadows-influenced band, Mountain Shadows. At the same time, he began shopping around his own compositions which he occasionally recorded under the name "Tess Teiges," beginning in 1971.
 
1983 was the year that KISS took off their make-up, McDonald's introduced the McNugget, and I first started actively listening to music on my own after realizing that all of my classmates were obsessed with some fellow named Michael Jackson with whom I was wholly unfamiliar. If there was a "Year that Italo Broke," then 1983 was probably it too.



In 1983 Manfred adopted the suitably Italian alias, "Manfred Perilano" but more importantly, the nom de discque of "Fancy." After Fancy asked Todd Canedy to write a song for him, he recorded a demo of “Slice Me Nice” which he submitted to composer/producer Anthony Monn, who’d previously achieved world-wide successes with husky-voiced diva, Amanda Lear




Usually collaborating, Segieth and Monn embraced a brand of dance music which, thanks to its elevated sense of melody and songcraft, was as at home in and out of the dance clubs where it was most popular. Though largely unknown outside the dance scene in the Anglosphere, Fancy performed very well commercially and, along with his Eurodisco peers, he undeniably helped prepare the world for similar-sounding English musicians and producers, like Stock, Aitken & Waterman and Eurobeat acts like Dead or Alive, who achieved both club and mainstream success with a similar formula.


 
In 1984, Fancy scored a hat trick with the infectious “Chinese Eyes,”  “Get Lost Tonight” and “Slice Me Nice.” All three are absolute masterpieces of tuneful, melodramatic dance fluff that added an undeniable and irresistible Hi-NRG influence to the comparatively relaxed Italo-disco sound epitomized the previous year by Gazebo's “I Like Chopin.” There was also a strong visual element to Fancy, who seemed to shop at the same stores as ABC's Martin Fry but rock loads of make-up in the New Romantic style.


In 1985, Fancy released his first full-length album, Get Your Kicks (1985 Metronome), which included allthe previous year’s singles. He made his first appearance on French TV and performed his first shows in North America, mostly at gay clubs. His sophomore release, Contact (1986 Metronome), spawned “Bolero (Hold Me in Your Arms Again),” which was reportedly number one in Spain for nearly six months. 




That same year, Fancy extensively toured clubs in Germany, Sweden and North America. The video for another single off the album, “Lady of Ice,” featured the (as always) tarted up, shiny-clothed Fancy prancing on a laser grid dance floor in outer space and I challenge anyone reading this to come up with anythingmore '80s. "Lady of Ice" went gold in Scandinavia.

Fancy Get Your Kicks Fancy Contact Fancy Flames of Love

Fancy's third album, Flames of Love (1988 Metronome) featured both Monn/Fancy collaborations as wellas some of Fancy’s first solo compositions and its title track was huge in Poland. He closed out the decade that he seemed so indelibly tied to with All My Loving (1989 Metronome), whose title track was a hit in Europe. Like most of Fancy's Eurodisco peer, for most of the ‘90s he released little-or-no new music,instead mostly repackaging, remixing and revisiting his former glories, often clothed in the trappings of fleetingly popular styles like Eurodance, Hip-House and (more lastingly popular), Trance.
 
  Fancy Forever Magic

Fancy pursued the emerging Eurodance style with releases like Five (1990 Metronome) and with Steve D5 & Grandmaster Tess’s hip-house re-make of his “When Guardian Angels Cry,” called “When Guardian Angels… Rap,” featured on (1991 ZYX Music), which mixed some new material and with old. Attributed to “Fancy and Band,” Blue Planet Zikastar (1995 Koch International) saw Fancy moved into more straightforward pop territory and includes “Saramoti,” a piece Fancy composed for his friends Siegfried and Roy’s show, Master of the Impossible. Colours of Life (1996 G.I.B. Music & Distribution GmbH) and D.I.S.C.O. (1999 Disco Records) followed. In the 2000s, Fancy's musical output slowedconsiderably and his only new material was the release, Voices from Heaven (2004 ZYX Music) and Forever Magic (2008 Happy Vibes).

*****

Do not miss this opportunity to see Fancy live! And if you're an Italo/Euro-disco fan, follow Keep on Music on Facebook as they've thus far brought Fred Ventura, Gazebo, Gina T, Ken Laszlo, Lian Ross, Linda Jo Rizzo, and Tom Hooker & Miki Chieregato (Den Harrow) to Southern California and additionally thrown many other New Wave (in the Asian New Wave/Vietnamese New Wave sense of the term) events that you should stop sleeping on! See you there and...

Vietnamese New Wave - Part II

Posted by Eric Brightwell, June 8, 2009 02:01pm | Post a Comment
Due to popular response, here's a follow-up to my initial blog on Vietnamese New Wave. For those of you who may not have read it, Vietnamese New Wave (less often called Asian New Wave) is not Vietnamese music. Think Northern Soul, a British genre of music that didn't come from British artists, but were beloved by 70s speed freaks for their common sound. At least, they didn't make it, but they took it, played it at dances, made bootleg mixes of it on tape and CD. The songs in the genre share easy-to-dance-to/syncopation-avoiding beats (setting it apart from Freestyle), easy-to-learn and obviously ESL lyrics, and are completely devoid of pretense or irony. My love and exposure to this amazing music is owed entirely to an amazing person, the flawless tastemaker, Ngoc Nguyen.


Vietnamese New Wave artists come from a variety of scenes including Italo-Disco, (English, French and Swedish) Synthpop and (German and Spanish) and Eurodisco. Beginning in the some time around the mid-to-late '80s, these bubbly, infectious tunes found an unexpected audience in the Vietnamese diaspora who disseminated these gems through the aforementioned mixtapes, parties and bootleg mix CDs which you can still find in Little Saigons around the globe.

We carry many of these artists at Amoeba. Most are found in the Freestyle section. However, a lot are found in, erm... Rock. So ask at info if you can't find something.


La Francitronique
- French synthpop
Where the French are widely known for their chanson and yé-yé, as well as their considerable contributions to Romanticism, house and rap (among other musical forms), their central importance in the development of electronic pop music is bizarrely less well known than, say, the Germans' or Italians' -- even though Jean Michel Jarre and The Rockets were making electronic pop music back when Kraftwerk were still bearded, flute-playing hippie longhairs. Nonetheless, most French synthpop was sung in French, thereby considerably limiting its audience. But at least two acts are firmly within the Vietnamese New Wave canon.

 
Début de Soirée


F.R. David

Kashmir (no video)

Magazine 60


Freizeithknast
-
German Eurodisco

Like most Eurodisco, the German variety is often lumped in with Italo, despite its Teutonic origins. Although musically it’s quite similar, there is an overall greater emphasis on pop song structures resulting in a slightly less club-oriented, keytar-dominated sound that takes it further away from its disco roots. Additionally, whether produced by Dieter Bohlen (Lian Ross, Modern Talking, Blue System, C.C. Catch, &c) or not, many German Eurodisco songs bear his influence, or that of others in his style. Whereas the Anglosphere proved fairly unreceptive to German Eurodisco, the artists found massive fame in Central, Eastern and Northern Europe; the Middle East, South Africa, and of course East and Southeast Asia.

Angela Lee (no video)

Bad Boys Blue


CC Catch

Cheryl Hardy (no video)

Fancy

Gina T


Jim Player (no video)

Joy


Kay Franzes

Kelly Brown


Lian Ross


Modern Talking

Mozzart

Sandra

silent circle

Stravaganza (no video)


Italio Stalio
- Italo-Disco

Initially, what came to be known (only in retrospect, mind you) as Italo disco grew out of a synthesis of Space Disco's sci-fi preoccupation and (usually) Hi-NRG's staccato rhythms. Although “disco” became a dirty word in the Anglosphere, much of the rest of the world wasn’t ready to give up the ghost in the arcade machine. Whereas rock and rap grew unhealthily preoccupied with authenticity and machismo, Italo remained blithely indifferent and the videos often featured heavily-made up or scantily clad figures chosen more for their figures than singing talents. Although Italo is often used to describe all music in the ‘80s Eurodisco scene, here it’s only used for genuine Italian artists…although I hesitate to use the words “genuine” and “artist.”

Den Harrow

Fake (no video)

Fun Fun

Gazebo

Kano

Katey Gray (no video)

Ken Laszlo

My Mine

Wish Key

Sabrina


Savage



El sonido Sabadell 
- Spanish Eurodisco
Unlike their Mediterranean neighbor, Italy; Spain isn’t nearly as widely recognized for their '80s Eurodisco scene. In fact, it's much more likely to be referred to as Italo than its German Eurodisco counterpart. To be sure, there is little to distinguish Spanish Disco from Italo-disco musically, but the Spanish variety is much more often sung in the performers' native language. In Spain, it was widely associated with the Catalonian city of Sabadell.

David Lyme (no video)

Night Society (no video)

Squash Gang

Viet covers

Of course, it was only a matter of time before Vietnamese performers (such as Anh Thuu, Lynda Trang Dai, Nguyen Thanh, Tommy Ngo, Trizzie Phuong Trinh, &c) and Cantonese singer Cally Kwong started covering the New Wave songs, although amongst fans, nearly everyone understandably seems to prefer the originals.