DISCO MUSIC As threatened a million years ago – here’s the next blog about Disco. It’s about music this time.
I can write this now as the music to the show has nearly completely been delivered. Also, I have almost finally managed to find some lovely dancers willing to join in the fun. Welcome aboard (I hope) – Emma and co.
I’ve mentioned before the music has been my favourite aspect of Disco. After years of ‘dark comedy’ – I really wanted to write a musical. Or something approaching a musical.
I like music because with music one is not required to spend half one’s life trying to book studio space/pay expenses/deal with venues/scour the internet for props and costumes/rehearse/pay money you don’t have/organise anything at all/pay more money. With music, other people have to suffer and that’s nice.
The simple reason for original songs is that I couldn’t pay the PRS on actual (say) Boney M and Donna Summer and Chic songs. So I contacted the most talented composers I knew and asked them to write me these songs for free.
At first, it seemed yet another long-winded roundabout way of having to do simple stuff without money but in the end it’s added up to an amazing layer of original, fantastic comedy by creative people who really need to be paid a lot more than they are by me.
ON RECORD I’ll say it. I do love disco music. As with all music, disco is music that takes me back in Time – that runs parallel with the other music I love. I love nearly all music and definitely believe it’s the highest art form. The only music I don’t get is “rock” which is just unintentionally funny but also alienates me from 90% of other males. (Although I’m starting, just starting to get into The Who. If only they hadn’t involved themselves with that dreadful Oasis thing… I’m digressing).
Listen to a Chic record (not that Kelly Marie Kung-Fu garbage) – I mean, listen to a Chic record. Completely functional soul music compressed, de-emotionalised and mechanised into a single dance attack. Heaven.
So the challenge was for Waen and Pete who have written these Disco songs to emulate the silly brilliance of that brief late 70s when funky music was starting to feel the chill of electronica…
THE SONGS No, I’m not going to post any songs from the show. You might not like them but even worse you’ll become familiar with them and might not think you need to come to the show.
I let Waen and Pete do what they felt with the songs. They both know the genre. I did provide the song titles and a few ideas for lyrics. This is mainly because, and this relates to writing as well, there’s nothing worse than a brief which asks of you: ‘do whatever you want. There are no rules! Go crazy man!’ Yeah thanks. Never, ever give a writer or a composer that brief. Please.
These are some titles: ‘Lift Off! (Theme from Disco)’, ‘La La Lenin’, ‘I Need (Motor) Love’, ‘Hot Lady’ and ‘Dance Kapital’… Come on, you know you want to.
IN THE HEART OF THE CIT-AY Dance Kapital is an interesting name. In fact, it’s so interesting when I was at school that was the name of the band I was in. I thought it would be great to use that name as a song in Disco.
I’m not saying how long ago Dance Kapital were out and about – but you’ll know when you hear it. This song’s called ‘Pharoah’s Face’ and features the best lyrics ever written. I ‘play’ keyboards on Pharoah’s Face if you must know – although my home-made monophonic synth could only produce one note at a time so it’s hardly playing.
This did mean I could concentrate on being the weird ugly one at the back so the rest of the band, who could play and sing and be good-looking, could get on with the song. Just look at the picture for confirmation. I miss that band; had a brilliant time. So I guess the Dance Kapital song is a little tribute to Paul, Barry, Vicky and Jackie all those years ago.
Anyway, that’s the music. It’s the best thing about the show. Except for the acting. The dancing. The comedy. No, music is best. Maybe.
Thanks for reading. And thanks Waen and Pete for making what seemed impossible six months ago, a reality.
And I haven’t even mentioned the contribution to be made live by Mr Dick Douglass.