As Bill Brewster and Frank Broughton point out in their excellent, must-read history of the beat slinger, the term “disco” used to represent a thriving, edgy and party-loving community – dance music’s first melting pot, which through its own success, was swallowed up by the mainstream. Purged of its soul, the powers that be detached disco from memories of deep, discrimination-free warehouse parties to replace it with images of builders, indians and their mates, and eventually retro themed venues with giant pictures of David Hasselhoff, the overlord of cheese.
The new breed is a far cry from the manufactured drivel – with razorsharp dancefloor friendly edits, reworks and productions sparking a renewed appreciation of the raw energy of early disco music. I don’t really pay much attention to genre labels to be honest. The “nu” tag isn’t well liked, for the obvious reason that it sounds pony (see: nu metal, nu rave). The creators seem to prefer to avoid tags altogether for a scene with no name, maybe to keep the nu disco bandwagon rolling away to one side. Disco-not-disco? Cosmic? Who cares. Genres soon become parodies of themselves anyway, and the best music always crosses the boundaries that we use to identify ourselves more than our music.
The solid underground music arguably never went away. The scene has been bubbling for a good few years now, and recently the mainstream has begun to sit up and take notice again. Inevitably we’ll see more and more disco “lite”, through the time-honoured commercial raping of anything creative. Or, just maybe, we don’t have anything to worry about this time round.
Also check this solid rework that blends in and out with the Loleatta Holloway original (respect to you Mr Scrimshire).