Name: HMD's Donna Summer Tribute Podcast by Horse Meat Disco
Duration: 1 h 4 min 9 s
Description: Horse Meat Disco's tribute to Donna Summer. Hosted by James Hillard and Luke Howard

Donna once said when asked 'if' she Liked the Queen Of Disco tag..."It's nice to Queen Of...Something", ie She HATED the Label which nails her directly to the late '70's & sadly that is how her Labels/Estate STILL think of her. ULTIMATE COLLECTION ? Who are they kidding ? Where is the promised 'unreleased' ['Africa' !] track WITH [for real this time ?] Moroder ?  Bruce Springsteen has said on TV that 'hearing' Donna's 'recording' of 'Cover Me' [!] convinced his managers/label they'd gave a HIT away...Wouldn't 'ye rather hear something/anything UN-Released than the same tracks with a different cover picture, only it's a colourized 'old' shot ?  Allegedly Tom Moulton has a 'copy' of a Donna #master#/acapella - so start saving for the NEXT 'box-set' = Good Grief ! WHY do they [a-hem] 'market' her like this ?

Oh this song so good ! So many memories of the BG records! 

Trance when trance wasn't there yet. As groundbreaking as I feel love

There will always be you my darling Donna. I will love you until God takes my life.

The third Dance of the Clones mixtape, including disco, hi-NRG and a sleazy ending.

Featuring music from Cerrone, Evelyn Thomas, Carol Jiani, Lime, Sharon Redd, Boys Town Gang, Patrick Cowley, Rose Laurens and more.

Huge thank you and love to Teddy for having me!

www.instagram.com/danceoftheclones/

Dance of the Clones Mixtape 

Chris de Buerre AKA instahartiss DOTC // JUNE 2021

Dance Of The Clones Mixtape #5 - Lupe’s Bare Vinyl Mix

Jesus Coca DOTC // July 2021

Luke Howard Live At Horse Meat Disco, The Eagle, January 1st 2022

DJ Mix for @danceoftheclones - a great project celebrating gay clubbing in the late 70s and early 80s when "The Clones" took over: Moustache men with perfect bodies in denim, plaid shirts, bomber jackets, and t-shirts, dancing their asses off to up-tempo Disco & HiNRG, at clubs like 12 West, Flamingo, The Saint, etc.

This mix contains tunes from 1979...1985. Feel free to ask for an ID!

Mr. Fonk - Dance Of The Clones Mixtape #10 // May 2023

Gay Marvine - Bath House Etiquette mix

Live mix from Glitterbox party @MOS London sunday 28th august 2016

Severino Glitterbox@Ministry Of Sound  London  28th August 2016

Horse Meat Disco's tribute to Donna Summer. Hosted by James Hillard and Luke Howard

HMD's Donna Summer Tribute Podcast

+++ posted with kind permission of Marsha Stern (copyright holder) +++
...an epic 6.5 hour DJ set by legendary DJ Roy Thode at the even more legendary night club "The Saint" where dance music history was written. This is a special, so-called "morning music" set.

Quote from Tim Lawrence about this:
Robbie Leslie: "At around 6:00 AM, in a ritual that was not replicated in other venues, the DJ would let the final record of the peak set fade, accept applause from the crowd and acknowledge the work of the lighting person and the generosity of the crowd (if indeed the applause was enthusiastic, which wasn’t always the case). After that, the DJ would take the tempo right down and play a set that was commonly referred to as “sleaze” or “morning music”."
[taken from "The Forging of a White Gay Aesthetic at the Saint, 1980-84"]
http://www.timlawrence.info/articles2/2013/7/2/the-forging-of-a-white-gay-aesthetic-at-the-saint-1980-84-dancecult

...and Barry Walters on RBMA:
"As the night progressed, the tempo and intensity increased by tiny, nearly imperceptible increments until climaxing around 6 AM, when the DJ would stop the music and the still-sizeable crowd would applaud as if giving a Broadway cast their standing ovation.

Then the DJ would resume, but at a somewhat slower tempo, and in a more lyrical and romantic style known as “morning music.” In a morning music set, the tempo of the tracks might build again, but typically not their intensity. Instead, DJs programed morning sets to ease dancers off stimulants and take them down an ethereal, more relaxing and soulful path for several more hours. Then the jock would usually take another encore, henceforth playing what many call “sleaze.” Sleaze might be overtly sexual, like Skatt Bros.’ “Walk the Night,” but usually not; its foundation was openhearted R&B; songs of longing, or regret, or sorrow or unmitigated joy.

This misnomer – Leslie emphatically objects to it – was especially deceptive because quintessential “sleaze” selections like Sharon Ridley’s “Changin’” or Viola Wills’ “Somebody’s Eyes” ranked among the evening’s most sensitively arranged tracks. Even when club music lost much of its compositional sophistication as the decade progressed, a “sleaze” set always radiated class. "
[taken from: "Nightclubbing: New York City’s The Saint"]
http://daily.redbullmusicacademy.com/2015/07/nightclubbing-the-saint

Roy Thode - Morning Music at The Saint (6.5 hours!) NYE 1981/82

I took a week to let it all sink in. 

Nights like this are the reason I do what I do. It’s amazing how the simple act of playing music can create so much joy, and I am so grateful that I can play a role in bringing joy to our community and to the world. I felt the glow of this experience for days afterwards, and I access it again every time I listen to this recording. (As a DJ, there’s honestly nothing more gratifying than when I listen to the recording and I can hear the crowd’s ecstatic yelling and screaming coming through the needle.)

The Gay Nineties is not about being “cool.” It’s not even about always playing songs that are “good” (hat tip to Venus X for that wake-up call). What it’s about is having fun! It doesn’t matter whether every transition is perfect. (Playing vinyl for 5 hours means you have to let go of any expectation of perfection.) What matters is building and sustaining a vibe that creates that joyful, communal experience on the dance floor.

The first Gay Nineties was in August 2017 in a little izakaya and about a dozen people came out for it. Now I get to throw this party in my favorite club in Portland, and over 200 people came through the doors. 

I am truly grateful to everyone who showed up in the room that night at the Liquor Store. (Every time I DJ I am grateful for the immense privilege of playing music for people who enjoy dancing to it.) And I’m grateful to everyone who couldn’t make it but sent their love and support from afar. 

I especially want to thank Patrick Schneider https://soundcloud.com/woodboxcreative for his incredible support. Patrick knows exactly what I’m aiming for with the Gay Nineties. Not only does he offer invaluable assistance with setting things up and creating the right atmosphere, he also acts as my eyes and years in the crowd, feeding me insights about the vibe that I can’t always see from behind the DJ booth. 

I want to thank my fellow DJs from https://soundcloud.com/no-fomo-pdx and Circuit Breaker who helped me promote the event. I love working with these beautiful souls to create amazing parties in Portland every month! Thank you Megan https://soundcloud.com/sappho-presents-chingo, Stormy https://soundcloud.com/stormyroxx, Spenser https://soundcloud.com/orsosound, and Travis https://soundcloud.com/dj_dont. 

I want to give a huge shout-out to Dee Lyrium and Tofu who danced their hearts out all night long, right at the front of the room, leading the crowd along into ecstasy. I also want to thank Cody James, Chris, Rob, Jermiah, Andy, and everyone else who supported the party on social media (sorry if I missed you here!). 

Thank you to my friends Kenton Waltz and Pocho’s Cosas for taking beautiful photographs of the night!

I want to thank the venue's bar staff and sound tech for being so supportive of queer nightlife in Portland.

Thank you Ryan https://soundcloud.com/laterdj for the awesome event flyer! 

I want to give a special thank you to https://soundcloud.com/nark for inviting me to share my ‘90s vinyl at Be My Lover in Seattle, which is currently on hiatus but had an awesome run from fall 2018 into spring 2019. 

I want to thank all the DJs who inspire me. In particular, I want to thank https://soundcloud.com/octoocta. Her sets are inspiring in every way, and several of the tracks I played on this night were discovered from her mixes. I also want to thank Théo Muller https://soundcloud.com/theomuller from whom I sourced two key songs that I played in this set. 

I want to thank everyone who has supported me, from my family to my lovers. Many of the records I played were gifts from people who have enabled me to develop my DJ skills over the years. 

Saving the best for last, I want to thank Doug who has done more than anyone else to support my heart and soul, ever since that very first Gay Nineties night back in 2017. 

Count how many songs in this mix talk about love. That’s what it’s all about.

The Gay Nineties

The Gay Nineties 8/30/2019

Last Sunday we joined a whole host of fabulous friends for a very special Homoelectric live stream.

If you missed out on the event you can watch/listen back to the full 12 hours here > https://twitter.com/i/broadcasts/1OdJrqVpLezGX

Otherwise you can listen back to Jim Horse Meat Disco's set right here.

Stay Safe!

xxxx

Jim Stanton (Horse Meat Disco) x Homoelectric x United We Stream

DJ Bookings > ali@warmagency.com

Initially established in 2003 at The Eagle in London’s Vauxhall, Horse Meat Disco has evolved into a powerful force in queer and club culture as a whole, while staying local to its original home, each and every Sunday. Co-founded by James Hillard and Jim Stanton, and encompassing residents Severino and Luke Howard, the crew continue to maintain not only the weekly Sunday party, but a number of residencies in cities across the world, alongside a kaleidoscope of club appearances, festival dates and specially curated mixes.

Taking inspiration from a diverse, counter-cultural history of clubs and DJs, as well as from the sprawling, ever-expanding musical collections of it's resident crew, the sound of HMD is impossible to place. Nonetheless their style is undeniable, as is a popper-scented air of sheer authenticity. Rooted in hedonism, rhythm, freedom and emotion, a Horse Meat Disco set reinforces everything invigorating about disco, as comfortable as shattering old-school mirror ball cliches as basking in their light.

A typical HMD set blends classics, italo disco, house, oddities and punk funk, to conjure their initial spirit of “a queer party for everyone”, including, but not limited to, “Homos and Heteros, club kids, bears, fashionistas, naturists, guerilla drag queens and ladies who munch.” They have made appearances on every notable club scene in the modern world, as well as those beyond, and have long been a key fixture at festivals including Glastonbury, Bestival and Festival No.6.

Outside of the club, the Horse Meat Disco train rolls across the airwaves on Rinse FM, where the crew hold down a weekly residency every Sunday afternoon, serving as a pre and post-club Sunday lunch accompaniment, often delving into the more soulful shades of their sublime taste, often encompassing rave groove, gospel and whatever they can’t get away with on the dancefloor (which, as the years have proven, isn’t much). A series of expertly curated and acclaimed compilations for reissue label Strut helped further cement HMD’s formidable but communal reputation as disco masterminds, spreading their sound and many enviable obscurities into front rooms and record bags across the world. Their latest, ‘Meat Me Down the Disco’, was released on Z Records in 2017.

After decades of crate digging, globetrotting and partying, the HMD story continues apace. 2017 also saw the crew record their long-awaited contribution to BBC Radio 1’s ‘Essential Mix’, as well as their first joint foray into production, ‘Waiting For You To Call’, featuring Roy Inc., and released on their own, self-titled imprint. They are currently working on new music to be released with Glitterbox, with the new single ‘Let’s Go Dancing’ released in December 2018.

HMD's Donna Summer Tribute Podcast

Horse Meat Disco

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