Giorgio Moroder and the beginning of Modern Electronics (EDM) Giorgio Moroder began experimenting with electronics since the early 70's, starting directly from the 4 classic lines of Electronic Music (E. Post Concreta, E. Moog, E. Experimental and E. Soundtrack/Ambient, Sci- Fi) in synthesis with Pop songs (under a preferential beginning along the lines of E. Moog and E. Soundtrack/Ambient, Sci-Fi) in songs like Song Of My Father or Tears (1971) and songs for European artists (like the singer Scottish Lulu) who were looking for this new synthesis of E. Moog with Pop songs, meanwhile Kraftwerk only made noise and sound distortion with their characteristic Krautrock Düsseldorf & German Progressive Rock (which were not classic, direct and main lines of electronic music) . By 1975 Moroder released his first electronic album Einzelganger where he masterfully applied the 4 pillars of Classical Electronic Music (E. Moog, E. Experimental, E. Post Concreta and E. Soundtrack / Ambient, Sci-Fi), while Kraftwerk (1974 ) began to replicate and copy these classic lines of Electronic Music mixed with Krautrock Düsseldorf (Autobhan), Moroder far surpasses the productions of Kraftwerk (1974) with the direct use and management of the classic lines of Electronic Music (without Krautrock substance & German Progressive Rock in between), Einzelganger was released months before the album Radioactivity that same year, the Conny Plank boys (Kraftwerk) were beginning to pay attention to the productions (E. Munich/ Music L. Studio) of Giorgio Moroder. The definitive fall of Kraftwerk came in 1977 with Moroder's new Electronica productions (continuing the evolution of the Einzelganger album) that finally evolved and revolutionized the 4 classic lines of Electronic Music with the Concrete EDM model that Moroder forged and initiated that same year (E. Munich / Working To The Midnight Shift, Queen For A Day, Now I Need You, I Feel Love and their second electronic album From Here To The Eternity), all under the solid and concrete beginning of this nascent electronic scene that in its first phase of development and evolution (1977-1980) the 3 main and primary electronic genres of EDM Concreto 70's were formed and consolidated: HI-NRG, Synthpop and Electro. Kraftwerk and their stagnant, rustic and underdeveloped album T. Europa E. (1977) bow to Giorgio Moroder's Concrete EDM model, paying homage in 1978 with the album The Man Machine where Conny Plank's boys practically replicate and copy the specific electronic bases of EDM (HI-NRG and Synthpop) in songs like Spacelab, Metropolis, The Model...among others. Kraftwerk, defeated by Moroder, began to put an end to its descendants and lineage Progressive German Rock & Krautrock Düsseldorf in future productions, even more so when in 1980 Ryuichi Sakamoto and his independent productions associated with YMO (E. Japan in synthesis with Concrete post 1977) began the primary electronic model and matrix of Electro (third and last electronic genre of EDM in its first phase of evolution and development 1977-1980), it is from here that Kraftwerk again replicates and takes the productions of other developers for the formation of the album Computer Word (1981), this time it was Ryuichi Sakamoto's turn and his works from that year 1980 / Lexington Queen, Wareheat, B-2 Unit and the Grail of the Electro matrix sound...the song Riot In Lagos, also added to this is the most minimalist of HI-NRG and Synthpop achieved until 1980 + the electronic lines of the group of the top producers and developers of the 70's: Moroder (E. Munich), Jarre (E. France), Lacksman (E. Belgium), YMO (E. Japan), Tangerine Dreams & Schulze (E. Berlin)...among others. The matrices and primary bases of EDM Concreto + the electronic lines of the group of the top producers and developers of Electronics of the 70's (Third Wave): Moroder, Jarre, Lacksman, YMO, Tangerine Dreams, Schulze, Vangelis, Tonet, Gizzi, Pinhas , Martín W. & Ian C. + the synthesis of EDM with the Disco / Funk scene...are the roots and fundamental electronic lines for the beginning and branching of genres of the 80's EDM scene (Second phase of evolution and development / 1981 -1989): House, Techno, Synthpop, HI-NRG, Freestyle, Italo, Electro Funk, New Beat, Trance, Acid, Electro, Eurobeat...including the primary electronic base of "ebm", the most sophisticated of Electro Industrial , the primary electronic molds that the converted Punk/Rockers take for the development of their nascent New Wave scene (in terms of Electronic) and the primary electronic basis of the Hip Hop / Rap scene of the 80's (detached from Classic Funk in synthesis with the EDM). Fan of Kraftwerk and Progressive Rock who likes to misrepresent the development, evolution and history of Electronic Music, this message is for you... My name is Giovanni Giorgio but everybody calls me the father founder and pionner of EDM and the Modern Electrónic / The Sound Of The Future

Dude was so versatile he even co-developed a supercar called the Cizeta-Moroder V16T.

Thanks for uploading this. ❤

It's great that Moroder is getting a lot of attention over the last 10-15 years or so. I remember chatting to him when facebook was just starting and we were chatting about the E=Mc2 CD being a recording from a vinyl copy which distressed him a little. There is much he pioneered, from the usage of the Roland MC8 with synths and echo, those trance like basslines, striping tape with sync code, early usage of digital recording with the Soundstream system and even usage of a motorised system for triggering chords on a Rhodes from a sequencer. Simply amazing. I'm still knocked out by some of his sound design for the electronic percussion lines on the From Here to Eternity LP which I try and cop from time to time..

The session for the long version of "Love to Love You Baby" was described by Donna Summer in an interview on NPR's Fresh Air show. The music was ready and someone (likely Moroder) arranged for Summer to lie down with a microphone in a nearly dark room. She sang it as if she was having sex to the music. "Suggestive?" you bet.

That mustache gave him superpowers!

0:22 Moroder is Italian born in South Tyrol which has been a territory of Italy since 1919, his roots (if his parents were originally from South Tyrol they would be Austrian...not German). South Tyrol, before being the territory of Italy, was the territory of Austria-Hungary and Austria itself for generations...not of Germany.

That has to be the funniest photo I have seen of Tony Visconti,

Imagine being the first person to play IFL to a packed club, what a rush.

3 Oscar and 4 Golden Globe.. a Genius!

The father of Future Synth.

Art Bell intro.

Moog synths defining an era every 10 years and counting!

I guess they thought the No. 1 in Heaven album that he did with Sparks wasn't worth mentioning

What’s the music at 8:29 ?

What a mustache

Great video, I myself am a huge fan of Giorgio Moroder, even so that I know good Harold Faltermeyer was its first ghost producer for a while until he got free, then from flashdance until late 80s there was a man from L.A. god I cant remember his name, there is an interview and video where its shows how he created the Take my breath away riff with the DX7 fretless bass with modulation and that he created the whole thing, from interviews with Giorgio you get the idea he didnt even touch a single key, chord or choose any sound, he even let his driver write the lyrics, for Flashdance the same thing, for Never ending story is ghost produced also, since the daft punk thing he got a New York producer to make everything but its not that good, you can hear the level of productions and I think Guy and Thomas were surprised to have the chance to work with Moroder and he told them he didnt do anything really since 1982 aprox. so they came up with the interview idea. Sad but true. You can pay attention to records and really see who did what

My word is that Jesus, No, it is Tony Visconti !

Just come across this channel....FANFUCKINTASTIC!!!! ....SUBSCRIBED X