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Mondo Disco is just one of four volumes in the double-CD Disco Discharge series issued this spring, bringing the total to 12 it was joined by Cruising the Beats (gay-bar pickup music, featuring This Girl's Back in Town by Raquel Welch), Euro Beats (they love Giorgio Moroder), and Disco Fever USA (male and female belters dominate). Luckily, for those of us that have always wanted to hear the Andy Williams disco record, there is the recent Disco Discharge: Mondo Disco – "23 weird & wonderful disco artefacts," as the sleevesticker promises, which contextualizes Williams's weirdly Euro Love Story ("She fills my HEEEAAAARRRRT!") with equally garish tracks by 5000 Volts, Disco Circus, and Cerrone. There's been a boom in books on the subject – Alice Echols's Hot Stuff and Peter Shapiro's Turn the Beat Around are just two of many. But even a box set as judiciously chosen as A Complete Introduction to Disco 1970-1980, issued by Universal last August, can't dive into the music's many strange corners. And as a result, dance compilations and reissues are going deeper than ever. Dance fans who came of age in the 90s are seizing their heritage, while younger newcomers are claiming their roots. Jungle and 2step DJs would never have thought to mix old Chicago or Detroit tracks into their sets, but newer DJs see no impediment to doing so if anything, it gives the music a trans-historical kick. There have long been retrospective series, such as the Sessions double CDs on Union Square Music, or Mastercuts' Classic series, which tend to take a broad overview that presumes everyone listening is coming to this music for the first time (not to mention that several volumes of the Sessions series are intrusively, and badly, DJ-mixed).īut thanks to everything from YouTube to the disco re-edit underground to Detroit techno and Chicago house stretching toward three decades of existence, dance fans seem to be hungering for older music more than at any time before. For all its sourcing in earlier music, electronic dance has tended not to be the most overtly nostalgic of forms, but that's begun to change recently. Last year, they repressed vintage 12ins such as Robert Hood Presents Floorplan's Funky Souls from 1996, and put together Anthony "Shake" Shakir's three-CD Frictionalism 1994-2009, which plays like an alternate-universe greatest hits – and in a way, it is. Rush Hour shines on the new-title front, thanks to sparkling singles by FaltyDL, Nebraska, and Tom Trago – but it's proven invaluable for bringing to light legendary but little-heard music from the mid-90s, an era so teeming that it is to dance music what the 60s are to rock.īeginning with the October 2008 issue of Kenny Larkin's The Chronicles – a double-CD collection of the Detroit techno producer's privately pressed 12in singles from 1992 to 1997 – Rush Hour has concentrated on reissuing vintage Chicago house and Detroit techno. "With house music, it's been 25, 30 years of history," says Christiaan Macdonald, Rush Hour Recordings' label manager, "and there's a new generation of kids listening to it." Based in Amsterdam, Rush Hour has become a key label in electronic dance's sudden reissue bloom.
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That, though, has begun to change, as dance music undergoes its first serious wave of reissued classics and rarities. But dance music's deeper past tended to be the preserve of those with insider knowledge. Disco, for example, has undergone a number of largely kitschy revivals since the early 90s – think of the very different uses of it by acts ranging from Deee-Lite, Masters at Work and DJ Sneak to Daft Punk, Escort, and LCD Soundsystem. D ance music may be a perpetual forward-motion machine, but it has often fruitfully examined its past.