Giovanni Giorgio Moroder (born Hansjörg Moroder in the Tyrolean town of Urtijëi in April 1940) is one of the most influential record producers and songwriters of the 70s and 80s. Frequently credited with pioneering synth disco and electronic dance music, he’s best known for his collaborations with the late DonnaSummer - including the mega hits Love to Love You Baby and I Feel Love. He also founded the Oasis label and the famous Musicland Recording Studios in Munich, used by major acts including the Electric Light Orchestra, Led Zeppelin, Queen and Elton John. He worked with David Bowie on Cat People (Putting Out Fire), Blondie on Call Me and, of course, Phil Oakey on Together in Electric Dreams. As these things go he’s pretty huge.
Unfortunately he also produced some utterly terrible trash. Throughout his career Moroder has exhibited a horrible habit, insisting on stepping out from behind the mixing desk to inflict his own solo efforts on an unsuspecting public. He may have an impeccable pedigree in disco circles, but the great man is no stranger to releasing rubbish. His first album, 1970’s That’s Bubble Gum – That’s Giorgio is stuffed with appalling cover versions 'sung' in broken English, such as the two Creedence Clearwater Revival tracks here, Proud Mary and Bad Moon Rising. Just dreadful.
But it didn't stop there. Oh no.
In 1978, at the height of the disco era - and at the height of his success - Moroder issued a dire discofied version of the Procol Harum classic A Whiter Shade of Pale. The track, from the album Knights in White Satin, is credited to the Munich Machine Featuring Chris Bennett but it’s actually a studio project from Moroder and his co-conspirator, British songwriter/producer Pete Bellotte utilising many of the musicians they had used on their various sessions. Vocalist Chris Bennett, now a respected jazz musician (born Christine Bennett in Illinois in August 1948) was a backing singer and pianist who had appeared on recordings by Tina Turner,The Manhattan Transfer and Donna Summer. She was later nominated for a Grammy for The Theme from Midnight Express.
In 1978, at the height of the disco era - and at the height of his success - Moroder issued a dire discofied version of the Procol Harum classic A Whiter Shade of Pale. The track, from the album Knights in White Satin, is credited to the Munich Machine Featuring Chris Bennett but it’s actually a studio project from Moroder and his co-conspirator, British songwriter/producer Pete Bellotte utilising many of the musicians they had used on their various sessions. Vocalist Chris Bennett, now a respected jazz musician (born Christine Bennett in Illinois in August 1948) was a backing singer and pianist who had appeared on recordings by Tina Turner,The Manhattan Transfer and Donna Summer. She was later nominated for a Grammy for The Theme from Midnight Express.
Horrifyingly this piece of rubbish was a minor hit in Britain in 1978, reaching the dizzying heights of 42 during its’ four-week run.
‘How long can disco on?’, Harry Nilssononce asked. Too long if you ask me, especially if it coughs up crap like this.
Enjoy!