“Continue to spread and promote the culture of disco always, because it is good and right.”<\/p>\n
I Love Disco<\/b> interviews disc jockey<\/b> and record producer Paolo Micioni<\/b> about the significance of the ’70s<\/b> and his experience with disco music.<\/p>\n
Micioni’s experience in the ’70s:<\/b><\/p>\n
“It was a unique experience of its kind because it influenced and characterized the music that is still made today. I lived through them from the beginning because I started working as a disc jockey in ’73 on the Adriatic coast, so I experienced the most beautiful area during the most beautiful era. I was also a fan of Mozart back then, of the various legendary DJs of the Adriatic Riviera. Then I arrived in Rome in ’75, and from there I continued the activity for 38 years. The ’70s, the advent of ‘Saturday Night Fever,’ was practically a break, a rupture between a genre that had its roots in the early ’70s, disco, leading to the wonderful soundtrack of ‘Saturday Night Fever’ produced by the Bee Gees, which also introduced real songs into the discotheques. It was one of the best-selling albums in the world, also because each track was the best-selling single of the moment when it was released. From a recording standpoint, it was a very important event because real musicians were entering the discotheque. From ’69 to ’79, the decade that characterized disco music in America marked an era that we still live today, that music is still heard today. The entry of musicians into the discotheque was a surprise; I thought that Cerrone’s ‘Love in C minor’ could perpetuate until today, but in the ’80s there was a return\u2014the ’80s were the product of what was sown in the ’70s. In the ’70s I was produced by Claudio Simonetti, an album that went around the world in ’78, and the most beautiful experience was that in ’79 I was on the playlist of the Loft in New York. I believe this is more than sufficient as satisfaction!”<\/p>\n
Disco music and the discotheque trend:<\/b><\/p>\n
“The various Sianos, the pioneers, the DJs who somehow introduced this profession, came from the ’60s, so from experiences of music of quite another kind, and Mancuso was a revolutionary DJ in his genre, because he introduced content, even if subliminal, into what could seem like cathartic dance music under the strobe and under the spotlight. In reality, the explosion of disco music then reverberated throughout the world, and it was a liberation from the student movements of the late ’60s. With Woodstock an era closed, then the early ’70s were characterized mainly by rock, and young people, tired of student struggles that they now considered useless, poured into the discotheques and into these places that were emerging then, from Andy Warhol’s photos… for example, there was the entry of Black bands into American discotheques, where before they were almost discriminated against. Chic and many other groups made history. The introduction of drugs and the gathering of many young people from different social classes were certainly a new form of protest and revolution. Drugs have always been present in every artistic form, wrongly or rightly, I cannot judge that. However, it gave many young people from different social classes, from different political backgrounds, the opportunity to meet in a common place, as in raves. I found the rave phenomenon extremely interesting as a transitional moment, because verbal protest does not always lead to results; sometimes silence can also be a form of great revolution.”<\/p>\n
Anecdotes:<\/b><\/p>\n
“I had the pleasure of working with Professor Lawrence; he sought me out because I was the only Italian on the American playlist in ’79. We also had a very heated discussion because he questioned the fact that I could use samples from ’76. Since I come from a rock culture for biographical reasons, I loved ’70s rock very much, progressive rock, so I showed him that there were bands and drummers who gave you the ability to create loops.
\nThe most beautiful experience that comes to mind now to tell is the first day I entered a recording studio; the opportunity was given to me by Claudio Simonetti, who made available to me an exceptional drummer, Walter Martino, son of maestro Bruno Martino, an exceptional drummer and percussionist who had my rhythm, so he told me “Have him do what you think is right.” He played for 16 minutes an exceptional rhythm in tempo; he seemed like a metronome, like an electronic drum machine of today. So having such important musicians as part of ‘Goblin’ was a great school.”<\/p>\n","protected":false},"excerpt":{"rendered":"
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