What I meant to say was the monotony of basic Disco is not complicated to master. Beyond that, Disco that is funk and rock based is more complicated. Didn't mean to hurt anyone by my statement, just my opinion. Omar Hakim is one badass drummer. And one of my favorites.
Foo Fighters frontman Dave Grohl released his highly acclaimed new interview series From Cradle to Stage: Stories from the Mothers Who Rocked and Raised Rock Stars in May, and it's naturally filled with lots of anecdotes that make us love Grohl in the first place. The above excerpt comes from an
So you went from doing these lists on another forum, left that place, and then came over here to do them under a similar, but slightly different, name?
But Vistàite black was also on Drumforum, Right? Read there were issues between people but didn't follow it that much. Anyway, I was 15 and yes, I had always likes disco but way more Funk... Like EWF, Shalamar, Chic, Kool on the gang, etc...But yeah, This tube by Kiss is the perfect example...
Yes, I agree, you have way more guitar funky on a Funk song, the bass has extended strong patterns that make you wanted to slap very often and the groove on the Hihat has nothing to do with disco. But yeah, you could put them in the same ballpark as they are both dance music.
What I meant to say was the monotony of basic Disco is not complicated to master. Beyond that, Disco that is funk and rock based is more complicated. Didn't mean to hurt anyone by my statement, just my opinion. Omar Hakim is one badass drummer. And one of my favorites.
There was interview with a guy that was giving Buddy lessons on disco beats.
His take on it was Buddy would last a few measures of 16th note high hat popping 2 and four ,then would feel the need to swing and forget it all.
PGM554, do you have more information on “a guy that was giving Buddy lessons on disco beats.”
It’s a fascinating idea. I’d love to look into who that may have been. Imagine BR at the center of Studio 54’s star-studded era of splendor.
I’m gonna throw in Ozzy Osbourne’s “Crazy Train”. Especially that octave bass line I feel makes it “Disco-adjacent”. One of my least favorite ozzy hits
Probably should have explained Son of Vistalite Black purposely excluded songs that injected disco sarcastically or as a joke — as with Part 2 or Eagles’ “Disco Strangler.”
No doubt about it. The band was persuaded by their producer Bob Ezrin to work in a disco beat in order to create a catchy single. It was a calculated move that resulted in Pink Floyd's highest charting song. Here's the story according to Far Out online magazine:
In the UK, Pink Floyd hadn’t released a single in over a decade, with their last effort being 1968’s ‘Point Me at the Sky’. The band were emblematic of the “Album Oriented Rock” format, and while songs like ‘Money’ and ‘Have a Cigar’ found their way onto American singles, the band were more restrictive with their output in their home country. A song about an oppressive totalitarian rule in primary school was certainly a relatable subject for the British populace, but it would take more than just a sympathetic topic to get Pink Floyd a radio hit. It would take the unstoppable force of disco music.
For the production of The Wall, Pink Floyd brought in Bob Ezrin, who was already comfortable with theatricality -astute, mainstream-averse acts like Alice Cooper and Kiss to bring their unique styles to the masses. Ezrin was able to balance what made a band unique with what a band needed to do to compete with contemporary tastes. It was Ezrin who suggested the Floyd write a song with a disco beat, something that was especially detested by David Gilmour.
“He said to me, ‘Go to a couple of clubs and listen to what’s happening with disco music,” Gilmour recalled to Guitar World in 2009. “So I forced myself out and listened to loud, four-to-the-bar bass drums and stuff and thought, ‘Gawd, awful!’ Then we went back and tried to turn one of the parts into one of those so it would be catchy.”
Despite the unmistakable disgust in Gilmour’s recollection, Ezrin managed to prevail and shaped the song with the idea of singles chart success in mind. That meant extending the song beyond a single verse and, most notably, bringing in a children’s choir to sing the song’s second verse. The results were undeniable, and the Floyd acknowledged the song’s potential by releasing it as a single. Quickly picking up momentum, ‘Another Brick in the Wall, Part II’ became Pink Floyd’s one and only chart-topper in both the US and UK.
BY THE SPRING of 1980, Pink Floyd were one of the biggest bands in the world ... The only thing the group had never quite figured out was how to score a big radio hit ... Crucially, Ezrin also added a kick drum on every beat. It gave the song a disco-like feel that made it palatable for radio audiences. Before they knew it, the song was blaring out of car stereos all across the world.
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