Thanks for clarifying the High Energy/Relax connection. Both are great songs that are definitely steeped in the vibes produced during that era (when we were both going to gay bars at the same time, albeit in different countries!)
Did you ever write about that period, Dan? I’m really curious to read about your experiences. I’ll write down mine in a future episode, and I already know exactly which song I’m going to use 😁
Have a great Sunday! I saw there’s a bonus P.Park today, so something to look forward to 😁
I did write a bit about that period in my Top Ten Memoir, although I focused quite a bit on what was going on with me in college at the time. Perhaps I should revisit it from a music/gay club perspective. Occasionally it comes up when I get asked to write about certain albums such as "Private Dancer" but I don't know that I've ever really delved into the effects that era was having on my musical tastes. Something for me to explore in '26?!
"Too plasticky, too loud, too abrasive", that sounds a bit like Levine himself! Like you, I like a good bit of Hi NRG, without being a massive fan of the genre. However, I've never been keen on Levine's productions. In a previous post, your advice to writers was write what you want, not what the audience expects. In contrast, Levine seemed incapable of giving the dancefloor anything other than what it expected to hear, which would have been tolerable if his productions hadn't all sounded like they were recorded in a toy shop, even when he was using top-end studios. I'm not surprised High Energy was rejected by a number of singers, the backing track sounds so thin and gimmick laden; Moroder it ain't, more's the pity. The fact the vocalists were treated with such lack of respect, at least financially, whilst not uncommon at the time only adds insult to injury. Hate to be so negative, but just telling it as I hear it. Right, I'm off to listen to Dead or Alive instead!
Haha… I couldn’t agree more, Paul. I’ve never been a fan of his work, not even the disco material. And from the interviews and what I’ve read, he never came across as a particularly pleasant person either.
That said, he did have a talent for knowing what would work. In many ways he was the UK’s version of Bobby Orlando.
Writing this Substack has already made me question why I never even tried making music myself back then. Besides the fact that it was really hard for a Belgian act or production to break across borders, I don’t think I would have survived in that kind of shark pool. I’ve always tried to stick to my principles, especially the idea of not doing to others what you wouldn’t want done to yourself. People like Levine seemed to operate on the exact opposite logic.
Not sharing even a small part of the record’s proceeds with the singer is something I still find completely inconceivable.
I would have been 16 and in lower sixth upon first hearing Hazell Dean in Summer of 84 and it certainly sounded like the new dance music by virtue of bpm alone and with a definite UK feel. Not unlike 'Aeiou' by Freeeez in the same era. I am 58 now and have seen Hazell Dean perfom in pubs and clubs for the last fiur decades, what a trooper.
She is, but again, Cameron, I suspect she never earned much from any of her hits, so she’s probably doing it to bring in some income.
My favourite track of hers is actually the only one I wouldn’t call Hi-NRG at all (more Italo 😁): ‘They Say It’s Gonna Rain.’ It’ll definitely get its own episode down the line.
Thanks for reading and chiming in, Cameron. Enjoy your Sunday!
Thank you and ‘excellente fin de weekend aussi’. Indeed, SAW wrote Hazell’s hits and receive the lion’s share of the royalties. That said, here in UK, the artists still get something from performing rights for every play and TV broadcast. I was tickled to read one of Legs & Co being pleased to get a fee every time an old episode of Top of the Tops is shown on BBC4 so they’re still getting something from their work in 1976-81. A nice surprise for them and their heirs.
Great info, Cameron, I didn’t know that system was active in the UK as well. We have it in Belgium too, although it’s fairly recent here. And yes, it’s become an important source of income for artists, provided their metadata is in order… which isn’t always the case.
Thanks for this extra perspective. Definitely something to keep in mind for future episodes!
Pe, your music and record industry knowledge and your tact, honesty and sensitivity when it comes to navigating socially/politically charged issues never fail to amaze me. You are a gem in the MusicStack. Let it be known.
Thanks for clarifying the High Energy/Relax connection. Both are great songs that are definitely steeped in the vibes produced during that era (when we were both going to gay bars at the same time, albeit in different countries!)
Did you ever write about that period, Dan? I’m really curious to read about your experiences. I’ll write down mine in a future episode, and I already know exactly which song I’m going to use 😁
Have a great Sunday! I saw there’s a bonus P.Park today, so something to look forward to 😁
I did write a bit about that period in my Top Ten Memoir, although I focused quite a bit on what was going on with me in college at the time. Perhaps I should revisit it from a music/gay club perspective. Occasionally it comes up when I get asked to write about certain albums such as "Private Dancer" but I don't know that I've ever really delved into the effects that era was having on my musical tastes. Something for me to explore in '26?!
Looking forward to it!
"Too plasticky, too loud, too abrasive", that sounds a bit like Levine himself! Like you, I like a good bit of Hi NRG, without being a massive fan of the genre. However, I've never been keen on Levine's productions. In a previous post, your advice to writers was write what you want, not what the audience expects. In contrast, Levine seemed incapable of giving the dancefloor anything other than what it expected to hear, which would have been tolerable if his productions hadn't all sounded like they were recorded in a toy shop, even when he was using top-end studios. I'm not surprised High Energy was rejected by a number of singers, the backing track sounds so thin and gimmick laden; Moroder it ain't, more's the pity. The fact the vocalists were treated with such lack of respect, at least financially, whilst not uncommon at the time only adds insult to injury. Hate to be so negative, but just telling it as I hear it. Right, I'm off to listen to Dead or Alive instead!
Haha… I couldn’t agree more, Paul. I’ve never been a fan of his work, not even the disco material. And from the interviews and what I’ve read, he never came across as a particularly pleasant person either.
That said, he did have a talent for knowing what would work. In many ways he was the UK’s version of Bobby Orlando.
Writing this Substack has already made me question why I never even tried making music myself back then. Besides the fact that it was really hard for a Belgian act or production to break across borders, I don’t think I would have survived in that kind of shark pool. I’ve always tried to stick to my principles, especially the idea of not doing to others what you wouldn’t want done to yourself. People like Levine seemed to operate on the exact opposite logic.
Not sharing even a small part of the record’s proceeds with the singer is something I still find completely inconceivable.
Thanks for reading, Paul, and enjoy your Sunday!
I would have been 16 and in lower sixth upon first hearing Hazell Dean in Summer of 84 and it certainly sounded like the new dance music by virtue of bpm alone and with a definite UK feel. Not unlike 'Aeiou' by Freeeez in the same era. I am 58 now and have seen Hazell Dean perfom in pubs and clubs for the last fiur decades, what a trooper.
She is, but again, Cameron, I suspect she never earned much from any of her hits, so she’s probably doing it to bring in some income.
My favourite track of hers is actually the only one I wouldn’t call Hi-NRG at all (more Italo 😁): ‘They Say It’s Gonna Rain.’ It’ll definitely get its own episode down the line.
Thanks for reading and chiming in, Cameron. Enjoy your Sunday!
Thank you and ‘excellente fin de weekend aussi’. Indeed, SAW wrote Hazell’s hits and receive the lion’s share of the royalties. That said, here in UK, the artists still get something from performing rights for every play and TV broadcast. I was tickled to read one of Legs & Co being pleased to get a fee every time an old episode of Top of the Tops is shown on BBC4 so they’re still getting something from their work in 1976-81. A nice surprise for them and their heirs.
Great info, Cameron, I didn’t know that system was active in the UK as well. We have it in Belgium too, although it’s fairly recent here. And yes, it’s become an important source of income for artists, provided their metadata is in order… which isn’t always the case.
Thanks for this extra perspective. Definitely something to keep in mind for future episodes!
Pe, your music and record industry knowledge and your tact, honesty and sensitivity when it comes to navigating socially/politically charged issues never fail to amaze me. You are a gem in the MusicStack. Let it be known.
Thanks so much, Andy. Your support and generous compliments mean a lot. Thank you, my friend, and have a great Sunday!