Giorgio

Closed - Crazy Love (Extended Version)

Written by : Gabriel Tintó, Elisabet Perera

CD : Venti Compilation 2 https://www.discogs.com/Various-Venti-Compilation-2/release/2857839

-----ALSO AVAILABLE AS DIGITAL ALBUM-----

https://itunes.apple.com/us/album/iventi-dazzurro-compilation/id433270995

http://www.junodownload.com/products/iventi-compilation-volume-2/1747203-02/

Label : I Venti d'Azzurro Records, http://www.iventi-records.com/

Closed : https://www.facebook.com/CLOSED-161204697081/

http://closed20106.wix.com/closed

Closed, Discogs : http://www.discogs.com/artist/Closed

Closed - Crazy Love (Extended Version)

Accompanying blog post: http://www.gregwilson.co.uk/2014/03/greg-wilson-versions-2005-2013/

Discogs: http://www.discogs.com/Beggar-Co-Somebody-Help-Me-Out-Remixes/master/241076

Check out my label's music at: https://superweirdsubstance.bandcamp.com

Beggar & Co '(Somebody) Help Me Out' (greg wilson version 2009)

Giorgio's Theme
The new single by Giorgio Moroder (Adult Swim Singles 2014)

Written and produced by Giorgio Moroder

www.giorgiomoroder.com
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www.twitter.com/giorgiomoroder

Giorgio Moroder - Giorgio's Theme

http://itunes.apple.com/fr/album/marble-summer-ep/id443178097 
https://www.beatport.com/fr-FR/html/content/release/detail/383426/marble-summer-ep#

Summer’s here, and following their late winter-early spring installment, the Marble Players Para One, Bobmo and Surkin have something warmer and easier to show you. This is the Marble Summer EP.

« Let You Go » is just the bomb. A feeling from nineties hedonistic, horny French dance music is definitely on, complete with multiple vocals from the goddessess of joy, engaged in a dialogue with each other about what they’re gonna do after sunset. The bass has massive feel-good-feel-cool potential while the strings and keys are making the whole thing lightly deeper and briefly romantic. An exhilarating triumph of emotional confusion, miraculously enclosed in one single club hit.

« Paris is Burning » opens up with a sample from the eponymous classic documentary movie about NYC vogue scene in the late eighties. The track itself is all feverish pumping beats and in-your-face bass, infused with a vintage NYC Tenaglia/Vasquez dark, tribal feeling. Get ready Ibiza. Get ready Miami. Get ready, World.

« Wipe Out » is the summer riddim, a juvenile Riviera cousin of « Marble Anthem » or « Girly ». Glittering vocal bits and bittersweet organ chords switch to big deafening bass, hi-res dominatrix synths and punishing electrofunk beats. Just let yourself whip by the heat.

« Minute of Love » is just what it says except it’s actually three minutes and a half. It’s a midtempo house ballad featuring gliding keyboard washes, clavinova stabs and melancholy whistles, reactivating a long-lost summer rammed with hazy sex sensations and life-changing reflective lights. A soundtrack for the end of love – or for its very beginning.

Text by Etienne Menu 
Identity by Museum Studio : http://www.museumstudio.se/ 
Illustration by Rimo : http://rimofrommocrock.com/

Marble Players (Surkin, Para One, Bobmo) - Paris Is Burning

Crystal Waters ★ •*¨*•♥♪•*¨*•.*★★ •*¨*•♥♪•*¨*•.*★

Zodiac[Latvia] sampled this track in Mysterious Galaxy(1982)

Tantra - Wishbone(Proto house from 1979)

Brand new One51 collaboration with Heidi Vogel for 2012. 


Decade

One51 ft. Heidi Vogel - Elevate - Earnshaw's House Mix

Gino Latino - Welcome (J Paul Getto Remix)

Zorro EDIT

Promo Snipptes M+M v3 (these are heavily edited versions)

“The original process of 're-mixing records' was intended to provide an alternative listening experience which had been optimized for people who went out to dance at Discos. John was one of the early pioneers who loved music, understood his craft and HAD RESPECT FOR THE CREATIVE WORK from which his mixes were derived” 

Patrick Adams – Super Producer. Writer of more than 30 Gold and Platinum records and back to back winner of ASCAP Songwriter of the year award 1996/1997

 This compilation is John Morales’ third for BBE. Few can match his contributions to the world of Dance Music be it soul, funk, disco, to today’s house music.

John Morales is considered one of the true legends of the mix. And his work some thirty years later continues to be cutting edge and inspiring. His epic mix of Universal Robot Bands boogie anthem “Barely Breakin Even”  is the source from which BBE Records got its name.

No attempt has ever been made to summarise the pinnacle of Johns work. This third release on BBE continues that history lesson that John has forged in dance music. He formed The M+M Mix with his late partner Sergio Munzibai, in 1982 till 1990 whose output of over 650 mixes will be unmatched today. John continues The M+M legacy.

From the Rolling Stones to Gloria Estefan, The Temptations, Barry White, Marvin Gaye, James Brown, Hall & Oates, Teena Marie, Aretha Franklin to BBE – we have all been molded by Johns everlasting mix influence, love for his work and his Music..  This superb triple CD presents some of John's finest works, and takes the M+M Mix legacy to yet a higher level. CD1 & 2 feature some of the greatest tracks of all time from the Start of CD 1 and Barry White’s “Never, Never Gonna Give You Up” , to the classic rework of Marvin Gaye’s “I Want You”  which closes out CD2, there are no sleepers here. CD3 also features some of the best from the vaults of the Salsoul and West End labels, anthems like Loleatta Holloway’s – “Hit & Run” to legendary Paradise Garage favorite Loose Joints “Is It All Over My Face?”. 

 This is the legacy of the M+M mixes.


      

John Morales
If you grew up in the ‘80s and had even the smallest of passing interest in music, particularly club music, chances are you were very familiar, albeit unwittingly, with the work of John Morales. On the radio, in the record racks and most importantly on the dance floor John’s work (predominantly with studio partner Sergio Munzibai) helped define an era and influence future generations of DJs, producers and artists. 

Born into a hard working Puerto Rican household in the Bronx, New York, at the start of the rock ‘n’ roll era, Morales, like many children of the period was fascinated by this new art-form that was saturating the airwaves and upsetting parents everywhere. So in love with the music he heard, as a 12-year old he persuaded his local record store to give him a part-time job with payment not in dollars, but in 45s. By the time he was old enough to get a full-time job his burgeoning record collection had helped land him one of his first DJ gigs at the influential Stardust Ballroom in the Bronx (his father had earlier owned a bar in Jersey City where John had first got the DJ bug). As his reputation grew Morales was invited downtown to Manhattan to play guest spots at the likes of Pippins, Bentleys, 1018, Limelight and the infamous Studio 54. 

Like many DJs of the ‘70s John ventured into the studio more through need than necessity: “I started to make medleys and remixes because the records in those days were too short, most in the 3 minute range, and being a DJ I needed to get more out of the records I was spinning. I first started to do my edits using the pause button on a Teac Cassette Deck. After many hours of self education I graduated and I purchased a Sony _” reel-to-reel and learned to edit. It was hard work and long hours editing and putting all the little pieces of tape together and making something creative happen. Reflecting now, I realize how important it was to what I would later do. It taught me a lot about what I wanted to do and how to do it, so that by the time I got in a real studio I was virtually a whiz at editing tape much to the amazement of some of the engineers I worked with.” 

His now infamous ‘Deadly Medleys’ and ‘Sunshine Acetate Medleys’ brought him to the attention of New York disco producers Greg Carmichael and Patrick Adams who were impressed by the hunger and desire of the self-taught engineer. “My first credited mix was Inner Life’s ‘Caught Up (In A One Night Love Affair)’, even though I had worked on a few other records before that, but I hadn’t been credited, for acts like the Universal Robot Band and Musique’s ‘In The Bush’.

A meeting at New York’s influential WBLS radio station, where Cuban-born Sergio Munzibai worked as musical director alongside Frankie Crocker  would signal the next chapter in Morales’ career, and resulted in unquestionably the most  prolific remix partnership of the 1980s and 90’s with over 650 mixes  to their name. “We partnered in 1982, when we met at a New York studio called Blank Tapes where I had worked for many years with Bob Blank. Sergio and John’s first record together was Mikki’s ‘Itching For Love’. After that we united and did all our mixes together and the M&M moniker was born.”

Discovering an instant rapport and musical appreciation it translated well into the recording studio where the M&M stamp became synonymous with almost every major dance release of the era. In fact it wasn’t uncommon for the duo to remix upwards of 10 records in any given month. Alongside cult and groundbreaking records for the Fantastic Aleems (‘Get Down Friday Night’), Class Action (‘Weekend’), and of course Jocelyn Brown (‘Somebody Else’s Guy’) they refashioned certified pop smashes for DeBarge (‘Rhythm Of The Night’), Harold Faltermeyer (‘Alex F’), Shakatak (‘Down On The Street’), Miami Sound Machine (‘Dr Beat’), the Temptations (‘Treat Her Like A Lady’) and hundreds more in an eight year period that saw them almost an ever present on the Billboard Dance, R&B or Hot 100 pop charts. Tina Turner, the Rolling Stones, Spandau Ballet, Aretha Franklin, Shalamar, Hall & Oates, Dan Hartman, Candi Staton, Melba Moore, Rose Royce, Billy Ocean, Debbie Gibson, Odyssey, the Commodores and even Peter Schilling and Rod Stewart, in fact just about every major artist of the day was in some way retouched by the hands of Morales & Munzibai. 

“We worked together till around 1988,” John recalls. His solo production projects in the ‘90s included such acts as Debbie Gibson, Brenda K Starr, Denise Lopez, The Thompson Twins, Blow Monkeys, Five Star and Art Of Noise. “Sergio unfortunately passed away in 1991. He was a wonderful person full of life that loved music and was a great people person. Anyone who knew him loved him, and I’m sure wherever he is he’s listening to music.”


RAW SILK - DO IT TO THE MUSIC [SNIPPIT]

Giorgio Moroder - From Here To Eternity (original 1977 multitracks)

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From Here To Eternity (Outtakes, Vocals and Effects)

The soundtrack to Racer: A Chrome Experiment (http://g.co/racer). Original music composed and produced by Giorgio Moroder.

Lyrics:
Que est ce que tu veux faire ce soir
on peut prendre la voiture
je te porterai avec moi
dans mon coeur dans mes bras

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FREE DOWNLOAD

Giorgio Moroder - Racer (2013)

Daft Punk - Giorgio by Moroder (Daft Punk, Columbia Records, 2013)

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My name is Giovanni Giorgio, but everybody calls me Giorgio

Sedat The Turkish Avenger - Take Me Ce Soir

Giorgio Moroder - the father of Disco

Casablanca Records

Genres and Styles:
Disco, Electronic, Hi-NRG, Synthesizer, Pop, Rock, Dance, EDM

Moroder is frequently credited with pioneering synth disco and electronic dance music.

Soundtracks: 
Metropolis, Scarface, Midnight Express, Cat People, Electric Dreams, American Gigolo, Flashdance, The NeverEnding Story, Top Gun, Over The Top, Grand Theft Auto III (Flashback FM), Grand Theft Auto: Liberty City Stories (Flashback FM), Racer

Giorgio collaborated with Daft Punk in 2013
(My name is Giovanni Giorgio, but everybody calls me Giorgio - "Giorgio by Moroder"),
he is officially the oldest DJ in the world and currently working on his new album called "Déjà Vu" featuring Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Matthew Koma, Kelis and Marlene.
Stay tuned.

#74isthenew24
#Righthererightnow
#Dejavu
#Diamonds
#Dontletgo

From Here To Eternity (Outtakes, Vocals and Effects)

GiorgioMoroder

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