Spacer: The Chic-Produced Hit That Liberated Sheila—But Missed Its Moment
The Twelve Inch 153 : Spacer (Sheila B.Devotion)
Bernard Edwards and Nile Rodgers have produced plenty of legendary tracks, but this week’s focus, Spacer, stands out. It’s one of their most recognizable yet completely different from their previous work. The song became an international hit—twice—and played a pivotal role in helping French pop star Sheila break free from the iron grip of her manager. However, Spacer arrived at precisely the wrong moment to be the global breakthrough Sheila and her team had hoped for. And what does this track have to do with the short-lived but influential space disco genre? Let’s unravel the fascinating, often-overlooked story of Spacer and Sheila B. Devotion’s brief but dazzling era.
Welcome, I’m Pe Dupre and I’m really glad you’re here. This is “The Twelve Inch”, my newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.
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Breaking Into the U.S.: How Eurodisco Artists Chased International Stardom
Eurodisco thrived in the late 1970s, but true success meant breaking into the American dance market. Many European artists attempted to do so, including one of France’s most recognizable pop stars, Sheila. Born Annie Chancel, Sheila had been a fixture in the French yé-yé scene since the early 1960s, selling millions of records under the careful guidance of her longtime producer, Claude Carrère.
Yé-yé(a French spin on “yeah-yeah”) was a pop movement influenced by British and American rock ’n’ roll. French radio stations were required to play a minimum percentage of French-language music, which opened the door for young French artists to create localized versions of international hits. Sheila followed this formula, covering Bang Bang(Cher) andDo Wah Diddy Diddy(Manfred Mann) and this, her 16th number 1 in France in 1971. Do You know The Original ?
Claude Carrère: The Svengali Behind Sheila
To understand Sheila’s career trajectory, you need to know Claude Carrère. He wasn’t just her producer—he controlled every aspect of her career. Signing her at 16 (to a “lifelong” contract), he meticulously crafted her image, ensuring her music was marketable and keeping her public persona tightly managed. The strategy worked: Sheila achieved 20 No. 1 hits in France. However, she had little creative control over her music or career decisions.
Sheila & Claude when she was still taking “note” of the Svengali
By the mid-1970s, pop was evolving. Disco music was becoming popular and European producers took notice. France started to play an important role as one of the countries that delivered a lot of disco productions that made it stateside. Cerrone, Santa Esmeralda, Patrick Juvet, Space..etc.. French producers like Jacques Morali (Village People, Ritchie Family..) and Alec R.Costandinos (Love & Kisses) were major contributors to emerging disco. Claude Carrère, as one of the major forces in French music couldn’t stay behind.
But instead of immediately embracing full-fledged disco, he took a measured approach. In 1975, Sheila released a French cover of Carol Douglas’ Doctor’s Orders (C’est le cœur (Les ordres du docteur)), which reached No. 2 in France and sold 400,000 copies.
Realizing an international career meant recording in English, Carrère devised a new strategy: Sheila wouldn’t release music under her own name but as part of a new act called S.B. Devotion (later changed to Sheila & B. Devotion). The gamble paid off. Hits like Love Me Baby and Singin’ in the Rain topped European charts and even cracked the U.S. dance charts. The stars were aligning for Sheila’s disco breakthrough.
Enter Nile Rodgers & Bernard Edwards: Why Chic Said Yes to Sheila
Despite her early disco success, Sheila’s music lacked the polish and credibility of American disco giants. That’s when Claude Carrère made a bold move—he reached out to Nile Rodgers and Bernard Edwards of Chic.
This is a version that was made for a Chic Box, released by Warner Music France. It’s the most impressive version of the song
At the time, Chic was redefining disco with Le Freak and Good Times, while producing hits for Sister Sledge (We Are Family). But why would two of the biggest names in American disco agree to work with a European singer (apart from the interesting paycheck probably 😃)? Three key reasons:
Expanding Their Empire – Rodgers and Edwards were looking to grow their influence beyond the U.S. European artists sought an American touch to gain disco credibility.
Creative Challenge – Rodgers later admitted he enjoyed working outside his usual circle. Sheila gave him an opportunity to explore new sounds.
Post-Disco Demolition Pivot – Spacer was released in November 1979, meaning the recording sessions in New York likely took place in the first half of that year. This timing is crucial because of what happened in June 1979—the infamous Disco Demolition Night at Chicago’s Comiskey Park. The event triggered a massive backlash against disco in the U.S., a turning point that Nile Rodgers has referenced multiple times in his biography. Edwards and Rodgers quickly realized they needed to pivot if they wanted to sustain their careers. However, Spacer had already been recorded. Had Sheila been an American artist, they might have reconsidered releasing it. But since the anti-disco sentiment wasn’t as strong in Europe, the risk of putting out a pure disco track remained relatively acceptable.
Sheila and her B.Devotion
Sheila herself speculated: “I think that choosing a European artist opened up a market for them that they didn’t have at all. Maybe they were taking fewer risks in case it didn’t work out.” That said, it’s worth noting that Sheila’s collaboration with Nile Rodgers and Bernard Edwards wasn’t immediately followed by other European dance acts. In fact, the next major European artist to work with Rodgers wouldn’t come until 1983—and it was a rock artist, David Bowie.
There’s even “A Tom Moulton Mix”
How Spacer and King of the World Differ from Other Chic Productions
Though often lumped into Chic’s catalog, Spacer has distinct elements that set it apart:
· Sci-Fi Aesthetic – Unlike Chic’s signature elegance, Spacer embraced a futuristic, space-disco theme. I believe there’s a strong possibility that Rodgers & Edwards weren’t entirely confident in the track’s international potential and chose to align it with the then-popular space disco trend to at least ensure success in Europe.
· Layered Synths & Altered Guitar Sound – More synth textures and a slightly different Nile Rodgers guitar approach set Spacer apart from Le Freak or We Are Family.
· Sheila’s Vocals – Unlike Sister Sledge or Diana Ross’ soulful deliveries, Sheila’s voice was lighter, giving Spacer a sleek, robotic feel.
Claude Carrère, however, was unimpressed. He had expected a straightforward disco track and was skeptical of the futuristic sound. Sheila recalled: “Carrère wanted a disco record, he wanted a follow-up. Nile said there was no way and sent me Spacer instead. What surprised me the most was the key. I called him and told him that the song was beautiful, but that he had chosen the wrong key. He replied, ‘But I hate it when you sing in a high pitch.’”
Reflecting on this event in a later interview Nile said: I take an artist and change who they are,” Sheila adds. “And that’s exactly what he did.” Carrère wanted to say No but Sheila, for the first time, pushed through. Something Claude Carrère wouldn’t forget.
Carrère’s doubts were misplaced. Spacer hit No. 3 in France and charted worldwide, even making an impact in the U.S. dance scene. However, due to the post-disco backlash, it failed to cross over into the U.S. pop charts.
Sheila’s Next Move: Rock and Independence
With disco’s decline, Sheila pivoted to rock, working with producer Keith Olsen (Fleetwood Mac, Pat Benatar). Three key reasons fueled this decision:
1. Label Pressure – Carrère still controlled her career and saw greater long-term potential in rock.
2. Changing Trends – By 1981, disco had lost mainstream dominance, making a rock-oriented sound more viable.
3. Rebelling Against Carrère – Sheila wanted control. Switching genres was part of her escape plan.
Though she scored a minor U.S. pop hit with “Little Darlin’”, by the early 1980s, Sheila had had enough. She legally severed ties with Carrère, ending nearly two decades of artistic control. Their feud lasted years, with Sheila accusing him of financial exploitation and spreading rumors to damage her reputation.
What is Space Disco and how does Spacer fit into this genre ?
Space disco is the fusion of disco music with futuristic themes, sounds and visuals, a genre that became popular in the late 1970s. It goes hand in hand with the popularization of electronic instruments and the popularity of Star Wars and SF films & series in general.
While Spacer sounds futuristic, true space disco—exemplified by acts like Cerrone and Ganymed—leaned more heavily on synthesizers and science-fiction themes. Spacer has elements of the genre but remains closer to Chic-style funk. However, space disco was an important part of late seventies Eurodisco and critical in shaping European electronic music, influencing everything from Italo-disco to early house.
Final Thoughts: Why Spacer Matters
Sheila B. Devotion’s Spacer remains one of the most underrated gems of the disco era—a seamless blend of American and European dance music influences and a unique chapter in the careers of Nile Rodgers and Bernard Edwards. The song didn’t go unnoticed, catching the attention of artists like Madonna, Diana Ross, and David Bowie, who would later collaborate with Nile Rodgers. While Spacer may not have been the direct catalyst for those partnerships, it certainly showcased that Rodgers and Edwards had far more to offer beyond the signature Chic sound.
And what about the second time it became a hit ? Well do you recognize this superhit of 2000 ?
“Spacer” was the sample they used and arguably the most important part of the song (they even copied part of the dance routine of the original video). The song was co-written and co-produced by Alexander Bard (of Army Of Lovers fame) by the way.
Sheila recently marked the 60th anniversary of her career with a new album, reuniting with both Keith Olsen and Nile Rodgers for a special collaboration. This is the track Sheila & Nile created together.
Nile still likes Spacer today : There’s no other Chic’s songs that sounds like that. There’s no Diana Ross’s song. No Blondie. No Sister Sledge. Nothing goes like that. Only her (Sheila) record goes like that. You know in England people like the song « Spacer »so much. I just have to play the introduction and the audience starts singing, even screaming »
This is a Paris concert of 2018 with Sheila together with Nile on stage
Now, I want to hear from you! What are your memories of Spacer? Did you ever expect Nile Rodgers and Bernard Edwards to produce a French pop singer? Let’s discuss in the comments!
Further reading (or should I say watching)
There are a number of interesting video’s/links :
So You Wanna Hear More ?
I thought you would !
It’s fun to write about music but let’s be honest. Music is made to listen to.
Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.
So what’s in this week’s mix ?
This week’s mix takes a deep dive into Space Disco! We kick off with Spacer, followed by tracks that embody the Space Disco vibe—either through their electronic instrumentation or themes reflected in the band name, song title, or lyrics celebrating space and the fascination with science fiction.
You’ll find all the “usual suspects” here: Giorgio Moroder, Telex, Meco, and Yellow Magic Orchestra. Plus, I’ve included two of the best space-themed disco tracks from 1979—Can You Feel The Force by The Real Thing and Superman by Herbie Mann.
Expect some deep (space) cuts 😃, leading up to a stellar finale featuring Harry Thuman, Telex, Sylvia Love, Space, and Linda G. Thompson.
Oh, and a heads-up! This Monday, I’ll be dropping the second part of this week’s mix on Mixcloud. Part one is pure European Space Disco, while part two will be all about American disco-funk of 1980. Stay tuned! 🚀✨
Enjoy !
Next week, I’ll be diving into one of my favorite English bands from the early ‘80s. They broke through with a ballad but were true pioneers of early Synth-Pop and played a key role in the short-lived New Romantics movement—though without embracing the signature style elements of bands like Visage, Spandau Ballet, or Duran Duran.
Never heard this song before but it’s fantastic!! As always, I appreciate your impeccable research, it adds so much important context for the music
The song always reminds me of 1978's I lost my heart to a starship trooper by Hot Gossip with Sarah Brightman. She did a decent cover of 'I'm on fire' by 5000 volts with Tina Charles on vocals.