Autobiographical Order No. 329: Giorgio Moroder – From Here to Eternity

There’s a pretty solid rule of thumb when it comes to discovering new music or filling in the gaps of a record collection: If you like something that an artist has recorded, you’re probably going to like other things that they’ve done. Seems pretty straightforward, right? Well, it doesn’t always work out that way, and there are always exceptions. But it seems as a result of the short-attention-span nature of the way we consume music now, it’s easy to forget that. I often am guilty of raving about that one album but not bothering to dive deeper. (It’s, in essence, why I came up with the idea to regularly dive into artist catalogs on Treble.)

Giorgio Moroder is one of those artists whose body of work has always been just out of reach for me, if only because I likely didn’t realize how far that reach was. I knew he produced some of Donna Summer’s greatest disco anthems, and let’s be honest here: “I Feel Love” is as much of a banger as it gets.

Slowly but surely I began to realize just how often Moroder’s name showed up on albums that I liked. He produced a track for ’80s new wave artpop group Japan. He produced Blondie’s “Call Me.” And he also produced my favorite Sparks album. So eventually I realized I needed to hear the man’s own albums, starting with From Here to Eternity. And damn, it’s good. It’s essentially two sides of nonstop groove and synth arpeggio, and the shifts are often subtle, not unlike side two of Kraftwerk’s Trans Europe Express. But the feeling never changes, which is one of complete euphoria. (Also: Epic mustache.)

Back when I was younger I never fancied myself a disco guy. But that’s probably because all I knew of disco was “Stayin’ Alive” and “We Are Family.” And I’m sure an unending campaign to smear disco since the late ’70s didn’t help, but that’s a weird generational thing that I don’t get. People born after Reagan was elected don’t seem to have the same negative opinions about disco, and also it ignores some of the less mainstream stuff, like Arthur Russell’s recordings as Dinosaur and the like. Thanks to Giorgio (and some other artists I’ll get to eventually) I can say without reservation that I’m definitely a disco guy. Sort of. Sometimes.

Rating: 9.2

Sound Quality: Good/Great (Lil’ scratchy)


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