Mid-70s Giorgio Moroder synth video: awesomest thing of all time

moroderth.jpg Holy crap, this video truly is the most awesome thing ever!!11one!11. I know nothing about this, other than what's on the YouTube description: "Promo for Giorgio Moroder taken from a Casablanca Records promo tape." I was talking with Joel Johnson about how creepy Moroder seemed in this video, with the pervo-stache and the cocaine shades. "But he mades the trains boogie on time," says Joel. Mr. Moroder is still very much with us, btw: he is 69 years old, and actively composing. Here's his website.

When you're done watching, go listen to this (or buy it). I think it's my favorite Moroder track.

(via Q-Burns Abstract Message via DailySwarm via Mixhell)


  1. OMG! He used a real drummer! That must be why his stuff is so much warmer than those bands that used robot drummers.

    Donna Summer’s epic 17 minute masterpiece Love To Love You Baby is one of my favorite disco songs of all time. He takes it so far from what we think of Donna Summer as being. (Come to think of it, I have a soft spot for 17-minute-long songs.)

  2. I recently discovered something similar; a documentary on Suzanne Ciani (she did a ton of electronic jingles for commercials in the 70’s) showing how she scored a pinball game:

  3. I was talking with Joel Johnson about how creepy Moroder seemed in this video, with the pervo-stache and the cocaine shades.

    Eh, it was the style at the time. What struck me was his Schwarzenegger-esque accent. I love his music, but had never heard his (non-vocoded) speaking voice. He’s from the Italian/Austrian border region, and apparently grew up speaking German.

    P.S. I love that this video is narrated by Troy McLure.

  4. Moroder is a master! Moroder’s “restored” version of the 1927 film classic Metropolis is a highly prized collector’s item that is both much admired and reviled by film purists. Moroder cleaned up the prints he could find and added some of the many missing scenes while tinting some scenes and adding a rock soundtrack (including Moroder’s own work and Queen!). Beauty and blasphemy! I think it works beautifully. Anyway, this is one of my top two favorite versions of Metropolis and I have always been grateful to Moroder for his vision and artistry.

    1. I like the Giorgio Moroder version of Metropolis, it was the first version I saw. Since I was a teen back in the 1980s I like most of the music as well. The sound track includes songs by Pat Benatar, Bonnie Tyler, Adam Ant, Loverboy, Billy Squier, Freddie Mercury and a few others. If you know those names you really should see that version, any way you can.

    2. Hey coolvoodoo here’s an excerpt:

      But I do not like the colorization, and Metropolis already has a score which was written expressly for it at the time of its creation..

  5. dmttdly, ‘m synth nthsst, bt sn’t ths bt th mst stl xmpl y cld fnd? Syng tht Dnn Smmr’s trck s yr fvrt Mrdr pc s lk syng Blstr n th Sn s yr fvrt Vlnt Fmms sng. Bng Bng sms t b gttng lmr by th dy.

    1. A, it’s a less well-known 12″ version with nice synth-in-the-clear sections so you can really appreciate Moroder’s artistry, and B, you’re a douche.

  6. Yeah Moroder is the man. Blondie’s Call me? Giorgio. Top Gun sound track? Giorgio. Flashdance? Scarface? The Never-ending Story? Giorgio Giorgio Giorgio!

  7. Call me predictable, but I’d always loved “I Feel Love” more than “Love to Love you baby”, something about that dreamy simplistic melody over that pulsing synth line was just so magical. And talk about simplistic, the title of the song is the entirety of the lyrics. Then I got the long disco 12″ version and wow– it gets all evil and creepy in the middle when the vocals drop out and the synth just pulses and echoes. I can see how A. it was a hit, and B. it prefigured so much of acid house and techno. I’m not sure it’s accurate to say Moroder was ahead of his time, more like he was perfect for his time, since he never really topped what he did during the mid/late 70’s (I don’t find his soundtracks have aged as well, with the possible exception of “Cat People.”)

  8. In the late fall of 1977 I was working for the guitar synthesizer company 360 Systems. We sublet our space from a company called Sound Arts. I spent three months listening to Moroder in the next room doing synth tracks for the next Donna Summer album.

    Truly a unique experience.

  9. yes thats the Patrick Cowleys remix. He wen’t to City college of SF for awhile, very SF though, gay/disco/castro/love him. Besides the 15 minute remix of I Feel Love, he has a few other good tracks, another favorite of mine is “i wanna take you home”

    I love the part between 50 seconds in and 1:15 mins in.

    Pre youtube I only had a small mp3 sample, would play it for hours haha

  10. I *love* Sergio Moroder. A true master of disco and synthpop pioneer. And a true inspiration for all us moustache afficionados, as well!

  11. E=MC[squared] is an AMAZING album, and the title track is actually my least favourite. I fell for this album so hard about three years ago when an old disco queen donated, oh, a couple of hundred Italo disco records to my collection.

    Caveat: The master recording was apparently lost, and the official CD is made from a vinyl rip and the sound quality is weak. Try and find it on vinyl, and you can probably make a better rip for yourself.

    One puzzle about the album is the item in the liner notes touting this as “the first electronic live to digital album”, which apparently had to do more with sequencing and editing technology.

  12. I swear there must have been a few seconds cut off of the beginning of this that said, “Hi, I’m Troy McClure…”

  13. Aaah from De Palma’s Scarface soundtrack, written by Moroder, as pointed out in the comments above. IIRC this is the song playing in the disco where they try to hit Pacino’s character, Tony Montana:

    ‘Rush Rush’ , sung by Debbie Harry:

    And the same song, in the “Giorgio Moroder Re-Mix”:

    This is good disco – if that’s possible.

  14. Lyric from “rush rush” (see above):

    He’s on the level, when he’s inclined…
    He tells the truth, even when he lies…

  15. “Creepy”? Oh, Xeni. I see “the pervo-stache and the cocaine shades” as part of his being Don Novello’s SNL character, Father Guido Sarducci, in real life and without faking. Go and watch him again with that in mind; it’s uncanny. Also, the theme from Flashdance and the soundtrack from Cat People are still much more listenable than a lot of arty-farty synth music from the same era.

  16. giorgio moroder’s track ‘baby blue’ = “AIR (the french band), you just got found out”. greatest moroder track ever is ‘chase’.

  17. Best song by Giorgio Moroder:
    Electric Dreams

    of which he did the original music for the movie of the same name.

    I love that song/movie!

  18. When I build my time machine I’m going to let Xeni be the first one to take it back to the 70s for a tour of its awesome awesomeness firsthand.

    Listening to that Donna Summer/Giorgio Moroder track, I can see the heat waves rising off the superbell-clad teens under the disco ball at our high school dance.

  19. @Xeni Moroder creepy in this video?! Sounds more like a comment from a Vouge editor than BB… ^_^’

  20. This is so very 70s in every way. The technology, the music, the hair, the mustache, the glasses, and especially the gosh-wow over this newfangled electronic music stuff.

  21. Giorgio’s album ‘From Her To Eternity’ (1977, Casablanca) is also fantastic, two sides of nonstop Giorgio groove.

  22. it was the 1970’s, so everyone looked “creepy”

    when we look back at /this/ decade just imagine how we will appear, I’m confident we will be equally laughable.

  23. Around 1979, Moroder assisted Sparks with their transition from rock band to, for lack of a better term, techno act.

  24. As mentioned in the video one of his better songs is the theme to the equally cool movie Midnight Express: http://www.youtube.com/watch?v=QD4Ks_EMQBY

    It’s considered one of the first “techno” songs. But you can go way further back… I always love to hear the music of Delia Derbyshire: http://www.youtube.com/watch?v=K6pTdzt7BiI
    She was the woman who made the original theme to Dr. Who (and this at a time when woman were not usually allowed in a studio). Her story is very interesting.

  25. Moroder’s music is sometimes goofy, as in this featured song, or melodramatic (Scarface) – but his sound is unmistakable. I think, though, that he is important not for his songwriting and composing but for his practical and innovative use of new technology to create real music instead of novelties to showcase new technologies. He definitely ‘out-discoed’ Disco and set the framework for all our synth-pop, New Romantic, and later House and Trance, for better or for worse.

  26. To add to that – I was specifically referring to Moroder’s work with hard, hypnotic rhythms that electronic and dance music lacked. I wasn’t discounting the influences of earlier electronic pioneers and German minimalist rockers..

  27. Minor nitpick: the video mentions Midnight Express (1978) and he’s working on E=MC² (1979), so it’s “late-70s” rather than “mid-70s”…

  28. Oh, the memories…

    Giorgio Moroder, Patrick Cowley, Gino Soccio, Bobby Orlando…

    Good times, good times…

  29. Wait… so *how* is E=MC² an “appropriate” title, according to the narrator? What does 70’s synth have to do with mass-energy equivalence? Seems f=v/λ would make more sense…

    Unless, of course, Moroder was simply prophesying the rise of Mariah Carey.

  30. As a Queen and Metropolis ‘stan’ I actually keep the LP of Moroder’s soundtrack on the wall of my home office. Lovely artwork.

    It surprises me that while Moroder was SO influential in the late 70’s/early 80’s–his name pops up in just about any music biography of that era–he’s virtually unknown now. Even many young people who worship Morricone and Vangelis don’t often know his work.

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