Since I have one Donna Summer song this classic has to be done also. Commentary on her is on previous cover.
"I Feel Love" is a song by Donna Summer. Produced and co-written by Giorgio Moroder and Pete Bellotte, it was recorded for Summer's fifth studio album, I Remember Yesterday (1977). The album concept was to have each track evoke a different musical decade; for "I Feel Love", the team aimed to create a futuristic mood, employing a Moog synthesizer. "I Feel Love" peaked at number six on the Billboard Hot 100 chart the week of November 12, 1977. It reached number nine on the Soul Singles Chart in October 1977. Its 1995 remix peaked at number nine on the Billboard Hot Dance Club Play.
The song influenced acts such as David Bowie, Brian Eno, the Human League and Blondie. The Financial Times credited it as "one of the most influential records ever made", laying the foundations for electronic dance music. In 2011, the Library of Congress added the song to the National Recording Registry as "culturally, historically, or aesthetically important". It has been covered by acts including Bronski Beat, Messiah and Sam Smith.
"I Feel Love" was recorded on a 16-track tape recorder, with the various parts played on a sequencer. As the Moog went out of tune quickly, it had to be recorded in bursts of 20 or 30 seconds before being retuned. To create the hi-hat sound, the team took white noise generated by the Moog and processed it with an envelope. As the Moog could not create a satisfactory kick drum sound, the kick was played on a drum kit by session drummer Keith Forsey. Aside from the vocals, the kick drum is the only element of the song not played by a machine. Each note of the bassline is doubled by a delay effect. The unmodified bassline plays through the left channel and the slightly delayed repetition through the right, creating a flickering, strobe-like effect.
The lyrics were written by Bellotte. Summer recorded her vocal in one take.
Robert Moog, creator of the Moog synthesizer (1964 after designing and selling theremins for several years), was critical, saying:
"That sequencer bass that's chugging along through the whole thing has a certain energy to it but also a certain sterility because it's always the same ... Warm, lyrical vocals but essentially it sounded like [Summer] was fighting the sequencer. When the sequencer stopped, I felt that I could hear the audience sort of coming alive and breathing a sigh of relief ... When [the song] is played live, what does [the band] do? The audience expects a musician to be doing something and if he's not doing as much as they expect, it's more showbiz than music".
The Moog synthesizer was brought to the mainstream by Switched-On Bach (1968), a bestselling album of Bach compositions arranged for Moog synthesizer by Wendy Carlos. In the late 1960s, it was adopted by rock and pop acts including the Doors, the Grateful Dead, the Rolling Stones, and the Beatles ("Because", "Here Comes the Sun" and "Maxwell's Silver Hammer"). At its height of popularity, it was a staple of 1970s progressive rock, used by acts including Yes, Tangerine Dream, and Emerson, Lake & Palmer. With its ability to imitate instruments such as strings and horns, it threatened the jobs of session musicians, and was banned from use in commercial work for a period.
This one a challenge to the wrist and to keep the steady rhythm.
Interesting Moog video here;
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