The double album in vinyl “Red Light Disco” rekindles the 70s musical eroticism and revives psychedelic funk and soundtracks censored the forbidden sound of the Italian B-Movie
For criticism they were only Serie B films And the soundtracks that accompanied them musical expressions of the lowest category, background background of strippers of girls from moon skin, students who seduce teachers and sensual taxi girls. In other words, by -products to be forgotten quickly. But it did not go like this and that 70’s repertoire of films and sounds is today more than ever the subject of worship. Not only for nostalgia, but also because in a time like the present one, silenced by the thousand plots of the politically correct, the films of five decades ago seem to come from another planet. We are talking about hundreds of films, a sort of age of the gold of local cinema, sometimes low cost, between sexy comedies, crime, horror and surreal comedy. An all Made in Italy phenomenon, an unconventional reinterpretation of the controversial seventies, a mix between sexual revolution, feminist claims declined in a popular national key and bourgeois respectisms. And then again the comedy in bar format in the neighborhood, the legendary detective and the horror genre on the border with the blood bath.
A repertoire that has become iconic and immortal, such as the nude scenes with Gloria Guida and Edwige Fenech and the eroticism of Zeudi Araya, because it is perfectly integrated with a underwater sound universe with contempt by the reviewers, but remained forever imprinted among the numerous lovers of these films. Let’s take a classic: When you want with who you wantmusic by Gianni Ferrio and voice of Gloria Guida, on a base of Disco Musicfunk and gospela piece that would have gone strong in the Loft of New York, where the first deejays of history animated the private parties with a genre born to make dance and which would then become universal thanks to study 54 and on Saturday evening fever.
«I say that rather than nothing, everything better and immediately here, better a yes or a no domineering than a medium nì …» Sing glory in the film The high school student seduces the professors By performing in an inspired disco, so to speak, to the dance clubs of the Big Apple. Classics of the past, often unobtainable and now collected in a double album entitled Red Light Disco – Dancefloor Seductions from Italian Sexploitation Cinema. To cure him, an unexpected enthusiast of the genre, Eli Roth, one of the protagonists of Bastards without glory by Quentin Tarantino and director of Hostel, The bloody thriller that collected over twenty million dollars telling the horror holiday of two boys traveling on the trains of Europe.
“When I was passionate about the soundtracks of the Italian films of the seventies, these songs were impossible to find outside the films,” says Roth. «So, I extracted them from the DVDs to be able to listen to them, often with the attached dialogues, because I could not find them anywhere else as simple musical tracks. When the Cam Sugar label asked me to take care of this collection, I made a dream come true because I had access to an archive with thousands and thousands of unpublished tracks. Songs that no longer felt from the release of the films, all impeccable, as if they had been recorded today. Listening to this vinyl is like being catapulted into a scene of these films, “he says.
A piece of cinema history reread from the perspective of film music. Roth’s friend always, Quentin Tarantino was a precursor in the rediscovery of the unique and inimitable sound of the Italian cinema of the seventies inserting inside the soundtrack of Kill Bill Vol.1 the main theme of 7 notes in blackthe thriller of Lucio Fulci from 1977, with the sound commentary written by super professionals such as Fabio Frizzi (brother of Fabrizio), Cesare Andrea Bixio and the composer and orchestra director, Vince Tempera, also the author of the unforgettable Goldrake acronym.
Yes, because it is good to underline it, behind the music of these vintage films, often mistreated, there are composers who are in the history of Italian music. Like Ennio Morricone who wrote the songs of Milan hates: the police cannot shoot (1974). Or like Riz Ortolani, a Golden Globe, three David di Donatello and three silver ribbons.
Red Light Disco brings to light The erotomaniaca scratched psychedelic funky of Ortolani scattered with screams, moans and sighs, soundtrack of the 1974 film of the same name based on the bizarre sexual débacle of the lawyer Rodolfo Persichetti (impersonated by Gastone Moschin) with his wife and also with his lover. A year later, the world icon of the “disc”, woman Summer, engraved the seventeen minutes of Love to love you babyfull of sexy moles and simulated orgasms.
And then, again, always from Red Light Disco, and always in the sign of disco music, I’m number onetaken from the cult film Eros Perversiona sort of erotic musical inspired by The twelfth night by William Shakespeare, with the soundtrack of Nico Fidenco, author of Tied to a grain of sandperhaps the first summer catchphrase of all time, but also of the music that accompanied another 1972 Spanish cult film, The strange law of Dr. Menga (Original title No Desearás a La Mujer del Vecino).
Ultimately, the films and music written for the cinema fifty years ago are the snapshot of a total contamination between high and bass. Great composers at the service of a “minor” cinema, pop singers who measure themselves with the art of the soundtrack, actresses that sing, conductors who delight in funky rhythms. Like Vassil Tomov Kojucharov, born in 1937, conductor formed at the Moscow conservatory and composer of the dance theme that accompanies the images of Nude Odeon (1978), a so -called “world movie” in which the voices out of the field of a man and a woman comment on the most original sexual practices of the most remote corners of the world between first generation sex toys and erotic acrobatics inspired by primordial rituals. A delirium. Like the seventies.
