Photo via Wikimedia Commons.
Legendary Italian producer and DJ Giorgio Moroder continues to connect with new generations of fans. The famed composer for films such as "Midnight Express" and producer of disco hits from the 70s and 80s and emerged within the last three years to the adoration of dance music listeners. After an appearance on the successful release of Daft Punk's 2013 album, "Random Access Memories," Moroder released "Déjà Vu," his first new album in 23 years. The record featured Britney Spears, Kylie Minogue, Sia, Kelis, Charli XCX and others.Moroder is set to perform during both nights of I FEEL LOVE, a two-day event reimagining the music and culture of the disco era with performers from today. Named after the iconic Donna Summer song produced by Moroder, I FEEL LOVE will also feature performances from Armand Van Helden, Jackmaster, Soul Clap, and Kungs. I FEEL LOVE takes place September 9 and 10 and tickets are now available.Although Moroder's music helped define the disco era, he rarely participated in the scene. Instead, he preferred to focus on the making of the music. Here, Moroder recounts his experiences as a musician, producer, and consumer of the disco era.
The only interesting thing about Studio 54 I had read is that it [was] so difficult to get in, so I said, "Maybe I should try the V.I.P." I went with my driver and there was a huge line at the entry when we got there. I told the driver go up there and see if they would let me in. So he came back and said yes, they would.When I was in, it was empty. I remember maybe 10, 20 people, but it looked empty. I was so disappointed. But then the DJ was nice and he recognized me and he played "Doctor Love." He made my evening. I didn't know that the discos at the time—and even now—only start to get going around midnight, so that's why it was empty.Once I moved to the States, in the 80s, I rarely went to discotheques. I maybe went once a month, but not really to dance but to play some new songs to see people's reaction. It was good because sometimes you would play a song for everyone on the floor and if everybody was leaving, then it wasn't good. That was kind of my little test [for the] songs.I'm not really a good dancer, so I guess I felt a little bit uncomfortable. If I would go I would just stand there and listen to the music and see what's new. But you know, Los Angeles [where I moved to] is not exactly known for disco. I went to some of the clubs, but not too often.I used to work like 24 hours a day. Or you would start at noon and work until 9, 10 PM. That was almost everyday. I was happy to have dinner or something and then stay at home. I was never a night person who goes to discos and comes and stays there until the early morning. That wasn't my case.I never knew why so many of my songs did well. I guess Donna Summer was a great voice for the songs. Somehow when I recorded or when I produced, I'd feel the rhythm and it looks like it worked. But maybe I danced a little bit in the studio while I was mixing so then I'd kind of feel if this was good or if it wasn't. To be honest, I don't know why the songs did so well in the discotheques.
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The only interesting thing about Studio 54 I had read is that it [was] so difficult to get in, so I said, "Maybe I should try the V.I.P." I went with my driver and there was a huge line at the entry when we got there. I told the driver go up there and see if they would let me in. So he came back and said yes, they would.When I was in, it was empty. I remember maybe 10, 20 people, but it looked empty. I was so disappointed. But then the DJ was nice and he recognized me and he played "Doctor Love." He made my evening. I didn't know that the discos at the time—and even now—only start to get going around midnight, so that's why it was empty.Once I moved to the States, in the 80s, I rarely went to discotheques. I maybe went once a month, but not really to dance but to play some new songs to see people's reaction. It was good because sometimes you would play a song for everyone on the floor and if everybody was leaving, then it wasn't good. That was kind of my little test [for the] songs.I'm not really a good dancer, so I guess I felt a little bit uncomfortable. If I would go I would just stand there and listen to the music and see what's new. But you know, Los Angeles [where I moved to] is not exactly known for disco. I went to some of the clubs, but not too often.I used to work like 24 hours a day. Or you would start at noon and work until 9, 10 PM. That was almost everyday. I was happy to have dinner or something and then stay at home. I was never a night person who goes to discos and comes and stays there until the early morning. That wasn't my case.I never knew why so many of my songs did well. I guess Donna Summer was a great voice for the songs. Somehow when I recorded or when I produced, I'd feel the rhythm and it looks like it worked. But maybe I danced a little bit in the studio while I was mixing so then I'd kind of feel if this was good or if it wasn't. To be honest, I don't know why the songs did so well in the discotheques.