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The History Of Italo Disco, by Francesco Cataldo Verrina
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Italian Dominance On The Dance Culture Of 80's. The only book in the world that tells the true story of Italian disco music through the artistic events of the most representative characters, with interviews, statements and news unpublished.
- Sales Rank: #1670103 in Books
- Published on: 2015-06-13
- Released on: 2015-06-13
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .85" w x 6.00" l, 1.16 pounds
- Binding: Paperback
- 376 pages
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ITALO DISCO STORY - ENGLISH EDITION
By Verrina Francesco Cataldo
The phenomenon has been defined as dominant compared to other similar genres born at that time, probably as Italians we are proud of what happened in those years, when many producers were able to change themselves, and those around them in many clones of King Midas, proving to be skilled to transform a base metal into solid gold. All topics in the book referred to artists and circumstances which abroad may seem far from the Italo disco standard, where not all music, composed for the dance floors and produced in Italy between 70s and 80s for almost a decade, is considered orthodox in this genre. However some anchor points must be fixed. We could say that within the phenomenon there are at least four well-defined demarcation lines, due to the definitely characterized and personal styles. For example Turatti-Chieregato's style, albeit with originality, it referred to some inputs from the English or German New Romantic: Yazoo’s or Alphaville’s traces are easily identifiable in their vast production, characterized by arrangements, rhythms and melodies immediately recognizable and designed to drag the listener in the dance floor; the sonic alchemy of Pier Luigi Giombini and Paul Mazzolini (Gazebo) followed various emotional trajectories, sometimes closer to British new wave and melodic pop-song, in particular for the low number of BPM; Farina and Crivellente are probably characterized by increased research and sound experimentation, but trade bills have not always been exciting, even if they still have dense crowds of supporters and fans around the world; the association Martinelli-Zanini immediately gave good results, through the creation of a less orthodox, perhaps because it was enriched by an excess of symphonic and classical reminiscences and, at the same time, diluted in a number of projects, which were not always musically uniform and coherent. In the final analysis, for example, it's very difficult to find a point of homogeneity or convergence among the many productions of Claudio Cecchetto. It appears unlikely to establish similarities between Sandy Marton and Via Verdi, or between Sabrina Salerno and Taffy. That's what, outside of Italy or out of the thought of so many Italian DJs, producers and supporters, Italo disco may be. Perhaps, however, reading the book, including curiosity, declarations and statements of various kind, each reader may come to different conclusions.
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