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Side A is utterly fantastic, taking the Moody Blues’ classic “Nights in White Satin” and running with it to the seventies. It’s an odd experience for sure: hearing a song I’ve grown up listening to turned into a fifteen-minute disco epic; strings lifted from the original and synthesized, understated moroseness replaced with bounce & rhythm, and most eerily of all, Moroder’s raspy, whispered, electronic “I love you’s” which, although impeccably sleazy in their own right, do carry with them a sense of longing that really adds to the suite.

Unfortunately, the start of side b sees a drop in quality & a rise in the cheese factor. But “I Wanna Funk with You Tonite” is more than bearable, even though the average listener will feel the need to bathe at its conclusion. I suppose the record is actually consistent in its sleazyness, meaning the X-factor of the first half is merely the familiarity/novelty, which proves that it isn’t actually a very good record anyway. Oh well, still premium for when I want to dance as well as feel dirty and kind of sad at the same time.

-some guy on

From Here to Eternity is Moroder’s quasi-instrumental masterpiece, a continuous mix of banging Eurodisco complete with vocoder effects and this statement on the back cover: “Only electronic keyboards were used on this recording.” The metallic beats, high-energy impact, and futuristic effects prove that Moroder was ahead of his time like few artists of the 1970s (Kraftwerk included), and the free-form songwriting on tracks like “Lost Angeles,” “First Hand Experience in Second Hand Love,” and the title track are priceless.

-John Bush,



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