Giorgio Dell'arti

The Swedish label Deeplay Digital, is being re-invented, known as the Deeplay Music from 2001 to 2010, and on 2013 return again under the name Deeplay Digital, and tomorrow will be published its fifth referencewith this new EP, and to this new EP brings us a review of a forgotten classic, the track ‘Utopia – Me Giorgio’ by Giorgio Moroder a tack from the album ‘From Here to Eternity’ from 1977 as the B-side of the single ‘From Here to Eternity’ from 1977, now remixed and updated by I- Robots aka Gianluca Pandullo (Opilec Music), an update with full respect for the original, performing an extended version of the track, as the original was 3:25 minutes and now with almost 7 minutes, opening the pack with the remix ‘I- Robots 1977 Reconstruction’ in which stays true to the original, right to the dance floor and almost 7 minutes, the second remix is called ‘I- Robots 2014 Tape Reconstruction’ with the effects taken from a tape by Moroder purchased at a flea market, with a sound cassette over, messier, and these analog synthesizers and danceable rhythms, and the third remix ‘I- Robots 2014 Reconstruction’ (exclusive bonus track in the digital edition) which have been cleaned dirty sounds from the Tape remix, to give it a more modern sound over club.

This record was a collaboration between Philip Oakey, the big-voiced lead singer of the techno-pop band the Human League, and Giorgio Moroder, the Italian-born father of disco who spent the '80s writing synth-based pop and film music. It is a testimony to Moroder's fame as a composer that he was able to earn equal billing with Oakey for a record he co-wrote and produced, but for which he supplied no more than "occasional synthesizers" as a musician…

Electric Dreams is a soundtrack album from the film Electric Dreams, released in 1984…

Paisiello (1740-1816) was the master of Italian opera buffo and a significant influence on Mozart. His orchestral writing and musical characterizations are deft and dramatic, and he was the first to introduce ensemble finales into comic operas. Don Chisciotte is an early work, premiered in Naples (where he spent most of his life) in 1769, and it already shows all the skills that made his work popular throughout Europe. The libretto by Lorenzi is based on a 1719 play that deals with the Don's visit to a noble court and the tricks that are played on him there, drawing in material from elsewhere in Cervantes' novel, including his tilt with the windmills. The characters are reduced from aristocrats to middle-class Neapolitans familiar to the opera's audiences, and they are treated with parodistic irony.

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.

While this soundtrack is arguably most notable for introducing Middle America to Blondie, there is also some interesting incidental music written by legendary producer Giorgio Moroder and performed by Harold Faltermeyer and Keith Forsey – the latter of which may be familiar to some as percussionist for the German prog/art rock collective Amon Düül. There is likewise a vocal contribution from actress/vocalist Cheryl Barnes on "Love and Passion." The album's pervading heavily manufactured and synthetically generated atmosphere is convincing in its aural depiction of the shallow decadence portrayed on the screen. It took almost two decades before American Gigolo was issued on CD in North America. The primary impetus for the release was the "extended version" of Blondie's "Call Me," which was unavailable on any Blondie album and was too long – at over eight minutes – to fit onto a single. The song was co-composed by Debbie Harry and Moroder specifically for this project, becoming the second chart-topper for the band, ultimately staying at number one for six weeks in March of 1980.