Synthanorma Sequenzer for the occasion; a 32-step, 16-channel sequencer and all-round monster, which shaped a haunting. Try another? “Funky Town” – by Lipps Inc. Yet it’s the song’s, um, baser innuendos that lift it to the next stratosphere of party-playlist immortality. When Eddie Van Halen’s solo comes in, feel free to unleash the air-guitar hero that lives within us all.—Derek Schwartz, No song captures the essence of Madonna’s iconography quite like “Express Yourself,” a girl-power pep talk delivered in an amped-up version of funky 1970s soul. Philly band The Trammps went under various other monikers in the late 60s – The Volcanoes and The Moods – before gospel singer Jimmy Ellis joined the line-up as lead singer at the start of the following decade. In 1982, a serious car accident left Pendergrass paralysed from the chest down; just three years later he bravely returned to the stage and performed at Philadelphia’s Live Aid concert, and would go on to release a further five albums. It was about doing what felt right musically, then Candi did one heck of a vocal. Of course not! Built on a synthesised piano hook and sharp, snappy handclaps (keyboardist. (Yeah, Pharrell, they asked us, too.) Barry White formed The Love Unlimited Orchestra- complete with forty-piece backing orchestra – and their seamless blending of cinematic string elegance with strutting funk helped to define the entire decade. Recorded at Sigma Studios with Joe Tarsia, MFSB’s drummer Earl Young deployed the trick of placing open hi-hat hisses between each beat. For that, Moroder called on the services of drummer Keith Forsey. Along with other closely associated groups like Bootsy [Collins’] Rubber Band and The Brides of Funkenstein, A Parliafunkadelicment Thang was shortened, and new scene was born. Recorded at Sigma Studios with. It would remind you why you got into music.”. Impressed by Walter Gibbons’ ability to arrive on time, Salsoul tasked him with the ‘Ten Percent’ remix – and the influential DJ’s first production job remains one of his best known moments. “Of course my brothers dressed up like hoodlums with machine guns,” recounted Siano in Tim Lawrence’s. Tom Moulton – it soared straight to the upper-reaches of the Billboard charts. Shep Pettibone’s remix quickly became a staple of ballroom culture after it was bootlegged around New York’s various balls, and way further down the line in 1990, ‘Love is the Message’ would inspire his production on Madonna’s ballroom-to-the-mainstream pop release ‘Vogue’, Testament to the increasing taste-making powers of DJs in the 70s, the masterpiece of ‘Love’s Theme’ might’ve ended up in the bin if it wasn’t for Nicky Siano and David Rodriguez. the classic to end all classics. And it still does.—Bruce Tantum, Get a huge dose of ’80s nostalgia by blasting this spiteful, synthy song, a poppy take on Gloria Jones’s upbeat, girl-groupy cut from ’65. “David replied, ‘They’ve got black people on the cover – give them to us!’ David and I started playing ‘Love’s Theme’ and it took off from there. But the very best parties have a feeling of unbridled joy to them, and this 1984 hit from Wham! Expect the floor to turn into a writhing, vogueing, lip-synching mess as soon as that high-pitched eastern riff kicks in.—Hank Shteamer, Pure comedic genius isn’t exactly what comes to mind when thinking about early ’90s rap, but controversy sure is. “Brick House” – by the Commodores 5. Note 1: Released in 1959, “What’d I Say” is also widely regarded as the first “soul” single. As Best Disco Songs became more popular and the dominant dance style music, the disco style clubs were called as a discotheque. Join us on the dancefloor for the 20 greatest disco tracks of all time. A cacophony of beeping cars, twanging bass and limousine innuendos, Grace Jones’ ‘Pull Up to the Bumper’ is disco, condensed: perfectly capturing the pure joy and silliness of losing yourself in a club ‘til dawn. “Of course my brothers dressed up like hoodlums with machine guns,” recounted Siano in Tim Lawrence’s Love Saves the Day, looking back on what sounds like a properly weird fancy dress party to be honest. He distributed copies among New York DJs, and by Feb ‘74 it had been released as a single due to huge demand, and reached number one. If only school were this much fun.—Andrew Frisicano, The Human League’s groundbreaking 1981 album, Dare, helped usher in the age of electropop—and the track most responsible for that paradigm shift was “Don’t You Want Me.” But despite the song’s obvious pleasures—its sauropod-size synth riffs and the chorus’s devastatingly effective vocal hook among them—it’s a bit strange that “Don’t You Want Me” has become one of the world’s most played party tunes: Lyrically, it’s the rather depressing tale of a gal who’s outgrown a guy, and a guy who implies (somewhat disturbingly) that something bad will happen if the gal doesn’t come back.—Bruce Tantum, The band described itself as Chic meets the Sex Pistols, but its bouncy sound was all its own: skittering drum beats, aqua-blue synth burbles and a galloping bassline courtesy of king pinup John Taylor.
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