"Disco Inferno" és una cançó de la banda discogràfica nord-americana The Trammps del seu quart àlbum d'estudi de 1976 amb el mateix nom. El teclista de la banda, Ron Kersey, la va escriure amb Leroy Green. Com dues altres cançons del grup, va assolir el número 1 a la llista Billboard Dance Club Songs dels Estats Units a principis de 1977. El 19 de setembre de 2005, "Disco Inferno" va ser inclosa al Saló de la Fama de la Música de Dansa en una cerimònia celebrada a la ciutat de Nova York. .
La cançó es va publicar per primera vegada l'any 1976 a l'àlbum del mateix nom. Va ser popular a les discoteques, però només va arribar al número 53 de les llistes dels Estats Units. El 1977, la cançó es va utilitzar a la pel·lícula "Saturday Night Fever", i el 1978 es va tornar a llençar com a single, passant al número 11. L'escena on es va utilitzar la cançó a la pel·lícula es va rodar al Club de Nova York anomenat 2001, on sovint actuaven The Trammps.
"Disco Inferno" celebra l'energia electrificant d'una festa furiosa. La lletra dibuixa una imatge vívida de l'escena, amb gent que es deixa anar i balla al terrat mentre la música sona. El "funk" es descriu com a "flamant" i fora de control, entretenint la multitud mentre el ritme explota. La tornada "Burn, baby, burn" es repeteix al llarg de la cançó i, tot i que es podria interpretar com un missatge destructiu per cremar l'edifici, és més probable que sigui una crida per mantenir l'energia de la festa on fire. La cançó utilitza la metàfora del foc per representar la intensitat i l'energia de l'escena disco. Quan el cantant diu "I'm on fire” (Estic en flames), no està literalment cremant, sinó que sent l'emoció i la passió del moment. La cançó parla també de la idea del comportament autodestructiu, amb la frase "I couldn't get enough, 'til I had to self-destruct" (No en tindré prou fins que em destrueixi). Aquest és un tema habitual en la música disco, que reflecteix el caràcter hedonista de l'escena i el desig de deixar-se anar i escapar de la vida quotidiana. Kersey i Green es van inspirar en una escena de la pel·lícula "The Towering Inferno" on una discoteca a la part superior d'un edifici està en flames.
La cançó va ser interpretada per Tina Turner a la banda sonora de "What's Love Got To Do With It" de 1993 i per Cyndi Lauper a la banda sonora de "A Night At the Roxbury" de 1998. Madonna va interpretar-la a la seva gira Confessions Tour de 2006 com un mix amb la seva cançó "Music" amb un vestit blanc semblant al que portava John Travolta a "Saturday Night Fever".
THE TRAMMPS - DISCO INFERNO
Released: December 28, 1976
Charted: US: #11 UK: #16
"Disco Inferno" is a song by American disco band the Trammps from their 1976 fourth studio album of the same name. The band’s keyboard player Ron Kersey wrote this song with Leroy Green. With two other cuts by the group, it reached #1 on the US Billboard Dance Club Songs chart in early 1977. On September 19, 2005 “Disco Inferno” was inducted into the Dance Music Hall of Fame at a ceremony held in New York City.
The track was first released in 1976 on the album of the same name. It was popular in dance clubs, but made it to just #53 on the US charts. In 1977, the song was used in the movie “Saturday Night Fever”, and in 1978 it was re-released as a single, going to #11. The scene where the song was used in the movie was shot at the 2001 Club in New York, where The Trammps would often perform.
"Disco Inferno" celebrates the electrifying energy of a raging party. The lyrics paint a vivid picture of the scene, with people getting loose and dancing on the roof while the music blares. The "funk" is described as "flaming" and out of control, entertaining the crowd as the beat explodes. The chorus "Burn, baby, burn" is repeated throughout the song, and while it could be interpreted as a destructive message to burn the building down, it's more likely a call to keep the energy of the party burning hot. The song uses the metaphor of fire to represent the intensity and energy of the disco scene. When the singer says "I'm on fire," he's not literally burning, but rather feeling the excitement and passion of the moment. The song also touches on the idea of self-destructive behavior, with the line "I couldn't get enough, 'til I had to self-destruct." This is a common theme in disco music, reflecting the hedonistic nature of the scene and the desire to let loose and escape from daily life. Kersey and Green were inspired by a scene in the movie “The Towering Inferno” where a disco on top of a building is on fire.
The song was covered by Tina Turner on her 1993 “What's Love Got To Do With It”soundtrack and by Cyndi Lauper on the 1998 “A Night At the Roxbury” soundtrack. Madonna performed this on her 2006 Confessions Tour as a mash-up with her song “Music” wearing a white suit similar to the one worn by John Travolta in “Saturday Night Fever”.
29.10.23
ELECTRIC LIGHT ORCHESTRA - CONCERTO FOR A RAINY DAY
Released: October 24, 1977 on “Out of the Blue” album.
“Out of the Blue”, the seventh studio album by the British rock group Electric Light Orchestra contains the legendary "Concerto for a Rainy Day", four tracks that together form a symphonic suite, with the weather as its theme. The last part, “Mr. Blue Sky”, became a world hit. Trivia for the harder ones amongst you: What instructions were given out via vocoder at the end of the suite?
The third side of the album is a quartet of loosely thematic songs inspired primarily by an extended period of dreary downpour and thunder while holed up in his Swiss chalet, Lynne loosely crafted the songs in response to his own attitude toward the weather and the writer’s block it brought about.
The concept is very loose indeed, but a pliable imagination can find a thread along which to string them all. Maybe we can think of them from the point of view of someone recently cast out of a turbulent relationship. From the dark of a midnight rainfall to the sunlight of afternoon, the weather mirrors the recovery and movement toward renewed optimism that comes from crumbling relationships.
STANDIN’ IN THE RAIN
The first song, “Standin’ in the Rain,” opens the suite with a haunting keyboard over a recording of real rain, recorded just outside the rented studio. The singer has been cast out onto the street alone, freezing and soaking wet. After a cymbal crash, the orchestra takes prominence, and a heavily distorted voice, manipulated to resemble thunder crackling, voices the words "A concerto for a rainy day". At around the one minute mark the staccato strings play a morse code spelling out the band’s name. From this point, the song develops into an "exhilarating instrumental workout" that evokes the intensity of a rainstorm.
"Standin’ in the Rain" appears to convey a sense of frustration and isolation amidst challenging circumstances. The recurring rain motif symbolizes the hardships and difficulties that the singer is facing, as well as a feeling of being overwhelmed. In the song's verses, the singer is shown standing alone in the rain, expressing weariness and a longing to go home. This could represent a state of emotional exhaustion or perhaps a desire for solace and comfort in the face of adversity. The chorus reflects his determination to persevere despite the unfavorable conditions. They are doing their best, but feel as though their efforts are not being recognized or rewarded. This may highlight a sense of futility or a lack of validation in their endeavors. The refrain introduces a sense of alienation, as he observes others rushing by without acknowledging their presence. They wish to connect with others and be heard, but feel overlooked and unheard, further emphasizing their feelings of isolation and longing for recognition. In the second verse, the rain intensifies, paralleling the ever-growing challenges faced by the singer. The desire for freedom amidst the downpour can be interpreted as a yearning to escape or break free from the burdens and difficulties they are experiencing. The bridge delves deeper into the internal struggle of the singer, expressing the conflict between their good intentions and the pain they are feeling. Despite striving to do the right thing, their efforts are seemingly futile, drowned out by the relentless rain. This can evoke a sense of disappointment and vulnerability. "Standin’ in the Rain" captures the emotions of frustration, isolation, and longing for recognition when faced with seemingly insurmountable challenges. The rain serves as a metaphor for the hardships that can feel suffocating and unremitting.
BIG WHEELS
“Big Wheels,” forms the second part of the suite. The song adds layers of instrumentation as it progresses, building from an intimate beginning towards an "epic" crescendo. With its imagery of mechanisms large and beyond control, evoke both weather patterns and a feeling of hopelessness.
"Big Wheels" explores themes of introspection, self-doubt, and the constant cycle of life. The lyrics reflect a sense of contemplation and reflection on one's own existence, particularly in relation to others. In the verses, the songwriter ponders the perception of success and the struggle to find one's place in the world. The line "You got it made, they never understand" suggests that despite outward appearances, true fulfillment and understanding come from within. The reference to a coin falling implies the unpredictable nature of life and the uncertainty of what the future holds. The chorus emphasizes the repetitive nature of life's journey, symbolized by the metaphor of "big wheels turning." This imagery may represent the constant cycle of experiences and challenges that one faces, with the understanding that these wheels keep turning regardless of the outcome. The phrase "Or not at all" could imply that sometimes it feels as though things are moving ceaselessly, while other times, progress may seem stagnant. The bridge introduces a somber tone, describing a lonely and reflective moment in the dead of night. The mention of a "lonely light that shines upon the window" suggests a sense of isolation and longing. The imagery of the pouring rain and "cold dark waiting days" further emphasizes a sense of longing and uncertainty. In the final verse, the songwriter expresses a desire to return home and start anew. The repetition of the phrase "I think I'm gonna have to start again" highlights a feeling of dissatisfaction and the need for a fresh beginning. The inability to find what is "always rolling through my mind" represents a struggle to define one's purpose or find meaning in life.
SUMMER AND LIGHTING
However, optimism returns, or at least the singer regains his legs, as warmer weather returns on “Summer and Lightning,” the third song in the suite, where he signals a break in the clouds and the first hint of Sunrise. It's a bit of a thrill knowing that, as scary as it may be, the risks involved in falling in love are never greater than the thrill of being washed clean in the torrent.
"Summer and Lightning" appears to convey a feeling of longing and desire for love, along with the sense of magic and excitement that comes with it. The lyrics in the first verse suggest that the singer has been waiting for love for a significant amount of time and is struggling to continue in the current situation where they feel mistreated. This longing for love is reflected in the pre-chorus, where the idea of being far away and hoping for a message from the sky is presented. The chorus introduces the concept of magic, with the repeated phrase "Here it comes again, it must be magic." This magic could represent the overwhelming feeling of love and the joy it brings. It creates an atmosphere of wonder and anticipation. In the second verse, the singer envisions the person they desire in their mind, but the time they have lost waiting for them is emphasized. The line "What can I do? The sun ain't shinin'" suggests that despite their yearning, circumstances or obstacles are preventing them from having a fulfilling relationship. The bridge intensifies the emotions, with the repeated lines "I can feel it, feel it," emphasizing the intensity of the narrator's emotions and their connection to this love interest. Throughout the song, the phrase "Summer and Lightning" is used as a metaphor to describe the powerful and electrifying nature of this desired love, evoking a sense of passion, excitement, and energy. It represents the surge of emotions and the electrifying feeling that comes with the presence of love.
In addition to being one of the band’s most thrilling choral epics, “Summer and Lightning” is a quintessential summer storm song. When the swelling harmony comes in: “It s all around me, It must be magic”, it s guaranteed to raise the hair on the back of your neck. “Summer and Lightning” is a sparkling example of Jeff Lynne’s ability to create that unmistakable and original ELO sound.
MR. BLUE SKY
Released: January 20, 1978
Charted: UK: #6 US: #35
The concerto ends with “Mister Blue Sky,” the final song of the set. An unabashed celebration of a sunny day and the feeling of freedom that comes from diving into whatever the winds brings.
"Mr. Blue Sky" is a song about finding joy and hope in the midst of difficult times. The lyrics describe a world of sunny days “There ain’t a cloud in sight” with an optimistic attitude that everything will be alright “Today is the day we’ve waited for”. Lynne is asking for an explanation from Mr. Blue Sky, the source of all this hope and optimism, as to why they were gone for so long and where they went wrong. The song is a reminder to find hope in difficult times, that no matter what we go through, the blue sky will always be waiting for us.
Jeff said: “I suppose this is my most well-known song. Everybody tells me something different about it. It's even got crazy appeal to kids since it's like a nursery rhyme. It's the thought of, 'Oh, isn't it nice when the sun comes out?' And you know, it really is. 'The sky is blue, wow, what a thing.' It's a simple kid's story. I remember writing the words down. I was at a chalet in the mountains of Switzerland and it was all misty and cloudy all the way around. I didn't see any countryside for the first four days or so, and then everything cleared and there was this enormous view forever and the sky was blue. It was dark and misty for 2 weeks, and I didn't come up with a thing. Suddenly the sun shone and it was, Wow, look at those beautiful Alps. I wrote Mr. Blue Sky and 13 other songs in the next 2 weeks.”
He also admitted that it was the song that crystallised everything he loved about the band and wanted to transmit to people listening. "It captured what my vision of ELO was all about," he said. "All the bits that come in and out, the backing vocals, the cellos sliding, all the little naughty bits, the sound effects, everything is exactly what I imagined ELO to be."
Bev Bevan said: “it’s a happy song, we all feel happier when the sun shines after a storm. The choir are very good at the end of this track singing in the style of the 'Swingle Sisters'."
You can find the answer to the Trivia in the last orchestral note: the phrase “Please Turn Me Over” spoken through a vocoder can be heard (This bit has been misheard repeatedly as “Mr. Blue Sky, why?”, but original keyboardist Richard Tandy confirmed the actual lyric to members of the Showdown ELO fan list). This is an instruction for owners of the original vinyl album to turn it over to listen to the fourth side.
28.10.23
YAZOO - DON’T GO
Publicació: 2 de juliol de 1982
Llistes: Regne Unit: #3
"Don't Go" és una cançó del grup britànic Yazoo. Va ser llançada el 1982 com el segon senzill del seu àlbum debut, "Upstairs at Eric's". La cançó va assolir el número tres de la llista de singles del Regne Unit, convertint-se en el segon èxit de Yazoo. Als Estats Units, va ser el seu segon gran èxit a les llistes de ball nord-americanes, on va passar dues setmanes al número u l'octubre de 1982. El seu primer èxit a les llistes de dansa nord-americanes va ser "Situation", que també havia assolit el número u a la llista a principis del mateix any. Tot i això no va entrar al Billboard Hot 100.
"Don't Go" transmet l'amor apassionat i desesperat d'una persona per una altra. La cantant expressa que està profundament enamorada i decidida a no deixar marxar l'objecte dels seus afectes passi el que passi, comparant el seu desig amb "una addicció". Malgrat els riscos de ser ferida, la cantant no es deixarà dissuadir i continuarà demanant que el seu ser estimat no marxi.
La cançó va ser escrita per Vince Clarke, que era la meitat de Yazoo (la vocalista Alison Moyet era l’altra meitat), que va formar després de deixar Depeche Mode el 1982. Yazoo només van publicar dos àlbums, amb Clarke i Moyet contribuint cadascun amb cançons, però escrivint per separat. Vince va dir: "Crec que el problema que tenia Yazoo va ser que mai no vam tenir la base d'una relació. Quan vam fer el senzill 'Only you', la companyia discogràfica va dir: 'Bé, per què no feu un disc?' Així que vam fer un àlbum, i després vam fer un altre àlbum. Però no hi havia cap relació ni història amb la banda, així que ens vam ensorrar, tot i que no em penedeixo d'haver-hi estat. Va ser trist, però no crec que poguesim haver continuat treballant junts sense estrangular-nos els uns als altres".
El 2008, Clarke i Moyet van tornar a fer gira com a Yaz i van tenir un inesperat seguiment a Nord-Amèrica. Clarke va dir: "Tot això va ser una mica una sorpresa per a mi, de veritat. Perquè quan vam decidir que faríem la gira, cap de nosaltres no tenia ni idea si algú ens recordaria. Sobretot quan vam arribar als Estats Units, va ser bastant increïble. De fet, quan la gent se’ns va acostar i ens van dir: "Ah, aquell disc, 'Upstairs at Eric's', va ser el que vam escoltar fins a la mort quan érem a la universitat", va ser bastant increïble; no tenia ni idea que això va passar. Perquè no vam tenir ėxit a les llistes als Estats Units, però suposo que va ser una cosa clandestina i es va reproduir a la ràdio de la universitat moltes vegades. Va ser molt gratificant". La música electrònica va funcionar bé al Regne Unit a principis dels anys 80, però als Estats Units va ser molt apreciada a l'escena del club, i aquesta cançó va ocupar el número 1 de les llistes de ball dels Estats Units mentre era ignorada per les emissores de ràdio.
El vídeo musical de la cançó compta amb els membres de la banda Alison Moyet i Vince Clarke en una mena de mansió embruixada amb Clarke en el paper de Victor Frankenstein.
YAZOO - DON’T GO
Released: July 2, 1982
Charted: UK: #3
"Don't Go" is a song by British synth-pop band Yazoo (known in the United States and Canada as Yaz). It was released in 1982 as the second single from their debut album, “Upstairs at Eric's”. The song peaked at number three on the UK Singles Chart, becoming Yazoo's second top 5 hit. In the United States, the song was their second major hit on the US dance charts, where it spent two weeks at number one in October 1982. Their first hit on the US dance charts was "Situation", which had also reached number one on this chart earlier the same year.
"Don't Go" conveys the passionate, desperate love of a person for another. The singer expresses that they are deeply in love and determined not to let the object of their affections go no matter what, comparing their desire to "an addiction." Despite the risks of being hurt by them, the singer will not be dissuaded and calls out to them not to go.
This was written by Vince Clarke, who was the non-singing half of Yazoo, which he formed after leaving Depeche Mode in 1982. Yazoo lasted just two albums, with Clarke and vocalist Alison Moyet each contributing songs, but writing separately. He said: "I think the problem that Yazoo had was that we never really had the foundation of a relationship. When we made the single ‘Only you’ the record company said, 'Well, why don't you make a record?' So we made an album, and then we made another album. And so there was no real foundation or history to the band. We kind of fell apart, and I don't regret that happening. It was sad, but I don't think we could have continued working together without probably strangling each other".
In 2008, Clarke and Moyet toured again as Yaz, and discovered an unexpected American following. Clarke told: "The whole thing was a bit of a surprise to me, really. Because when we decided that we'd actually do the tour, neither of us had any idea if anybody out there would remember us. Particularly when we came to the States it was quite amazing. In fact, when people came up to us afterwards and said, 'Oh, that record, ’Upstairs at Eric’s’, that was the one that we played to death when we were in college,' that was quite amazing; I had no idea that was going on. Because we didn't chart with it in the States, but I guess the thing was underground and got played on college radio a lot of times. That was very gratifying." Electronic music did well in the UK in the early '80s, but in America it was mostly appreciated in the club scene, and this song went to #1 on the US dance charts while being ignored by radio stations.
The music video for the song features band members Alison Moyet and Vince Clarke in a haunted mansion of sorts with Clarke in the role of Victor Frankenstein.
