Not All Disco Sucked...Really

Editor’s Note: We can sort of guess that most of our readers have “mixed feelings” about disco. But let’s be honest, from a song-by-song perspective, not ALL of it was awful. Any songs you might add? What are your thoughts?

***

Who among us (of a certain age) can forget the 1979 rallying cry of “Disco Sucks!”? Thus began the bitter divide between rockers and disco fans that went way beyond the call of mere debate over musical preferences. Disco lost a lot of its luster and became marginalized. Bands like the Bee Gees, legends since 1967, undeservedly lost cred for a long time.

Disco was the music and culture of the 1970s dance clubs. The thrumming beat and emphasis on style over substance were the general signature. It was a joy for many, but treated with contempt by some rock purists. Amidst the less memorable disco songs of the day (that served the dance floor if not the soul) are a few gems that deserve a revisit. Here’s a starter list of a few disco tracks worth a little respect.

Thelma Houston’s “Don’t Leave Me This Way” (1976)

The original 1975 recording by Harold Melvin & the Blue Notes, with vocals by Teddy Pendergrass, was an R&B jewel. Thelma Houston’s 1976 cover ignited dance floors everywhere, winning her a Grammy for Best Female Lead Vocalist.

“Don’t Leave Me This Way” topped the charts in 1977, turned up to sexy effect in the hit movie Looking for Mr. Goodbar. Houston’s version features crystalline vocals, rampant sensuality, a gorgeous bass line, and utter danceability.

The Bee Gees’ “Night Fever” (1977)

There’s no overestimating the gifts of the Brothers Gibb, who paid an unfair price for falling into the “disco” category. This doesn’t alter the fact that “Night Fever,” from 1978’s Saturday Night Fever album, is an absolute triumph. It conjures up the Brooklyn disco scene of the era in all its testosterone-y grit.

The movie title derives from this track, which was written beforehand. The Bee Gees’ signature harmonizing is without flaw, but just listen to Barry Gibb’s exquisite falsetto, which alternately stings, excites, and soothes. Topping the charts longer than any of the other hit singles on the album, “Night Fever” is a disco symphony for the ages.

Dan Hartman’s “Instant Replay” (1978)

Former Edgar Winter Group member Dan Hartman made a splash in 1984 when he went solo with “I Can Dream About You.” However, in 1978, he achieved disco perfection with “Instant Replay.”

“Instant Replay” opens with a catchy countdown and features the dueling licks of future Kiss guitarist Vinnie Vincent and icon G. E. Smith. It briefly topped the US Dance Chart and went gold. The video is an adorably awkward display of musicianship and sweetness.

Sylvester’s “You Make Me Feel (Mighty Real)” (1978)

Sylvester James came up in the Pentecostal church, comfortable in being gay and in colorful cross-dressing. He rejected his oppressive, confining upbringing and his mother’s insistence that he dress like a man, “…drink beer and play football.”

His 1978 album Step II contained the track that would forever cement his legacy as an LGBTQ+ icon: “You Make Me Feel (Mighty Real)” is an anthem for the gay community, but also celebrates the joys of embracing authenticity. And it does so with a dreamy disco-scape of swirling synthesizers, a gospel undertone (sped up for peak dance floor action), and Sylvester’s erotic falsetto.

Its courageous message and glorious vintage video make it a time capsule that remains fresh and relevant today.

Earth, Wind & Fire’s “September” (1978)

1978’s “September” (from The Best of Earth, Wind & Fire, Vol. 1) may be the ultimate evocation of the band’s upbeat, life-affirming ethos. Written by Maurice White, Al McKay, and Allee Willis, “September” is a flawless marriage of R&B and disco, spangled with buoyant horns and coded, joyful lyrics. They’re evocative of good times and emerging romance.

The September 21st date is so beloved that EWF fans use it to celebrate an annual “Earth, Wind & Fire Day.” It was believed that the date was an arbitrary one that flowed best with the track’s overall rhythm, but Maurice White’s wife revealed that it was the original due date of their son; White planted it as a sweet family message.

And those bouncy “ba-dee-ya”s throughout the track? They began as quirky lyrical placeholders and remained in “September” because, as White explained, “Never let the lyrics get in the way of a good groove!” And what a flawless groove it is.