Space Disco

Space Disco is a form of music that emerged in the late 1970s and early 1980s, primarily in Europe and the United States. This musical genre is characterized by its electronic beats, prominent synthesizers and space-age themes, making it a popular choice for those looking for intergalactic soundscapes that expand the limits of traditional disco music. The roots of Space Disco can be traced back to the early disco era in the mid-1970s, where musicians such as Giorgio Moroder were beginning to experiment with electronic sounds and instrumentation. Moroder, who had produced several hit songs for Donna Summer, innovated with synthesizers and rhythmic loops that would become a hallmark in the music of the time. However, Space Disco did not become a recognized style until the late 70s when a number of artists began to incorporate space-age themes and imagery into their music. The science fiction influence of the era, with the popularity of Star Wars and other space-themed movies, spawned a fascination with the cosmos that found its way into many forms of art, including disco. The most influential group of this movement was unquestionably the French outfit, Space. Led by Didier Marouani, the band used synthesizers, string arrangements, and a sound that echoed the feeling of weightlessness to create a sound that was unique and compelling. Space saw great success with a series of albums released in the late 1970s. The band's hit song, "Magic Fly," became an instant classic and is still regarded as one of the genre's most essential tracks. Meanwhile, in Germany, the band Boney M. rose to fame with their disco hit, "Nightflight to Venus." The group's success was largely due to the novelty of their sound, which utilized a thundering bassline and the voice of lead singer Liz Mitchell to create powerful, danceable songs that incorporated elements of reggae and Caribbean music. From their popularity emerged a host of other German acts such as Dschinghis Khan and Silver Convention that added a space-age twist of their own to disco music. The key was the use of science-fiction imagery, from robotic voices and futuristic synthesizers to lyrics about cosmic encounters and intergalactic exploration. The genre would find its way to the United States in the early 80s, led by the pioneering contributions of Devo, who incorporated live vocals with electronic beats and space themes. In fact, it's worth noting that many influential electronic genres of the 80s, from New Wave to Synthpop, were indirectly influenced by Space Disco. While the popularity of Space Disco would eventually die down, and electronic music would evolve to embrace newer styles such as house and techno, the genre has retained a significant cultural cache among enthusiasts and collectors of music. Its pioneering use of electronic beats and synthesizers would serve as the foundation for later electronic genres, while its themes and imagery would inspire generations of science-fiction auteurs.

Giorgio Moroder - The pioneer of Space Disco, Moroder has lent his production and songwriting skills to icons like Donna Summer and David Bowie. His hit "From Here to Eternity" remains an essential for any Space Disco playlist. Cerrone - French producer Cerrone combined funky basslines, sweeping arpeggios, and soaring vocals to create some of the most cinematic Space Disco tracks of the '70s. "Supernature" is a standout. Space - Though they only released three albums in the late '70s, French band Space made a lasting impact with their use of futuristic sounds and disco beats. Their biggest hit, "Magic Fly," remains a staple of the genre. Patrick Cowley - Cowley was not only a key producer of Disco queen Sylvester's music, but also crafted his own Space Disco classics like "Menergy" and "Megatron Man." His innovative use of electronic sounds set the tone for the genre. Kano - Italian group Kano created a sound that combined traditional Disco elements with Sci-Fi themes, as well as heavy use of synths. The band had several chart-topping hits, including "It's a War" and "Now Baby Now." The Immortals - A side project of New Wave pioneers The B-52's, The Immortals released the Space Disco tune "The Ultimate Warlord" in 1981, featuring washes of synth and an epic, cinematic melody. Herbie Hancock - Jazz keyboardist Herbie Hancock branched out into the world of Space Disco with his 1983 album "Future Shock," which included the hit "Rocket" and incorporated elements of hip-hop and electro. Lime - Canadian band Lime were known for their upbeat, dancefloor-ready tracks that blended elements of Disco, Hi-NRG, and Space Disco. "Your Love" and "Babe, We're Gonna Love Tonight" remain classics of the genre. John Carpenter - Best known for his work as a filmmaker, John Carpenter also experimented with electronic music in the '70s and '80s, creating eerie and cinematic Space Disco tracks like "The End" and "The Duke Arrives." Jago - The catchy hooks and pulsing beats of Jago's "I'm Going to Go" have made it a Space Disco classic. The Italian singer's soulful vocals and futuristic sound put him in line with the other great artists of the genre.

1. Cerrone - "Supernature" (1977) 2. Space - "Magic Fly" (1977) 3. Donna Summer - "I Feel Love" (1977) 4. Lipps Inc. - "Funkytown" (1980) 5. Giorgio Moroder - "From Here to Eternity" (1977) 6. Voyage - "Voyage" (1977) 7. Boney M. - "Nightflight to Venus" (1978) 8. Patrick Cowley - "Menergy" (1981) 9. Laser - "Laser" (1979) 10. Amanda Lear - "Sweet Revenge" (1978) 11. Azoto - "Disco Fizz" (1979) 12. Lio - "Suite Sixtine" (1982) 13. Telex - "Moskow Diskow" (1979) 14. Space Art - "Onyx" (1978) 15. Sylvester - "You Make Me Feel (Mighty Real)" (1978) 16. Gino Soccio - "Dancer" (1979) 17. Linda Clifford - "Bridge Over Troubled Water" (1979) 18. Droids - "Star Peace" (1978) 19. Giorgio Moroder - "E=MC²" (1979) 20. Kano - "Kano" (1980) 21. Lime - "Your Love" (1980) 22. Loleatta Holloway - "Love Sensation" (1980) 23. Rockets - "Plasteroid" (1980) 24. Samantha Sang - "Emotion" (1978) 25. Silver Convention - "Save Me" (1975)

One notable book on the subject is Tim Lawrence's "Love Saves the Day: A History of American Dance Music Culture, 1970-1979." In the book, Lawrence discusses how Disco music in the late 70s began to incorporate science fiction themes, giving birth to Space Disco. According to Lawrence, Space Disco was one of the most creative and experimental sub-genres of Disco, pushing the boundaries of what was considered mainstream music. Another notable book is David Weir's "The Sixties: 1960-1969." Although it focuses on the 60s music era, Weir touches on how the cultural and societal changes that took place during that time allowed for Space Disco to be created. Weir notes that Space Disco was a reflection of society's fascination with space exploration and the unknown, giving people a sense of hope and inspiration. Music journalist and critic Simon Reynolds has also written about Space Disco, describing it as "a utopian alternative to the gritty present-day reality, a sound of hope and possibility." Reynolds cites the use of futuristic sound effects, such as laser beams and teleportation sounds, as a key characteristic of the genre's unique sound. Musician and producer Giorgio Moroder, who is considered one of the pioneers of Space Disco, has also spoken about his experiences creating the genre. In an interview with The Guardian, Moroder explained how he was inspired by the sci-fi films of his time, and how he incorporated those themes into his music. He also noted how he used electronic instruments and synthesizers to create the futuristic sound that characterized Space Disco. Music critic and author Michaelangelo Matos has written about the legacy of Space Disco in his book "The Underground Is Massive: How Electronic Dance Music Conquered America." Matos mentions how the genre had a significant influence on early electronic dance music, particularly in the use of synthesizers and drum machines. He also notes how the ideas and themes that Space Disco embodied, such as escapism and other-worldliness, continue to shape electronic music today.

The late 1970s were a time of great disco music popularity in the United States. Disco music, as a musical genre, catered to various social and cultural groups, including the LGBTQ+ community, African Americans, and Latinos, among others. The genre’s celebration of individualism, style, and the dance culture made it popular among the youth and fashion-conscious individuals of all ethnicities. The sexual liberation movements in the 60s and 70s also paved the way for disco’s popularity by establishing a culture of freedom and socialization to express individual identity without restriction. Space Disco emerged in this context as a response to the growing interest in space travel and science fiction in popular culture. The post-World War II era saw the rise of the Cold War and the Space Race between the United States and the Soviet Union. Science fiction played an essential role in this era of history, inspiring generations of people to explore and dream about the future possibilities. TV shows, films, and music expanded the imagination and fueled the cultural obsession with space travel and extraterrestrial themes. Space Disco emerged as a hybrid of Hi-NRG and disco music, generally characterized by a futuristic, interstellar theme that incorporated electronic and synthesizer sounds. This sub-genre of disco music shared musical elements with funk, soul, and pop music while depending heavily on synthesizers to create a futuristic, interstellar sound. The emergence and growth of Space Disco also coincided with a period of technological advancements. The rise of synthesizer technology allowed musicians and producers to create futuristic, and space-themed sounds that captured the imagination of a generation of music lovers. As a result, Space Disco heavily relied on electronic instruments, including Moog and analogue synthesizers. Space Disco’s emergence was supported by record labels that promoted these futuristic sounds. The labels, such as Casablanca, Salsoul, and Prelude Records, featured artists like Giorgio Moroder, Donna Summer, Patrick Cowley, and Silver Convention. These artists became icons of the Space Disco genre, with their albums featuring sleek futuristic cover art, disco balls, spaceships, and laser beams. Prominent journalists played a critical role in the emergence of Space Disco in the late 1970s. Journalist and music critic Vince Aletti, in particular, contributed significantly to the growth of disco music during this time. He wrote for Rolling Stone and The Village Voice and was among the first journalists to take it seriously. In retrospect, Space Disco was a product of its time, drawing its inspiration from the social, cultural, and technological milieu of the late 1970s. With its lush, immersive soundscapes, it offered a tasteful escape from reality for music lovers. The sub-genre may not have lasted long, but its influence on contemporary electronic dance music is undeniable.