Corona the Rhythm of the NightThe Corona the rhythm of the night
Rhythm of the night
Rhythm of the Night is a single by the Italian music group Corona, which was released on 5 November 1993 as the first excerpt from the album of the same name. The single saw the vocal participation of the Italian singer Jenny B. or Giovanna Bersola as front woman. In 2008 a song was covered by Ex-Otago.
On 9 October 2013 the English group Bastille released another song on their new All This Bad Blood record. The song is part of the soundtrack of the video game GTA V.
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Rhythm of the Night is the debut album of the Italian band eurosance Corona. He has been drawn by several successful singles: The Rhythm of the Night, Baby Baby, Try Me Out and I Don't Wanna Be a Star, as well as a mega mix of all released singles.
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The Corona - The Rhythm of the Night (DWA)
The 90s have left an incredible musical legacy and are across all genres of dancing music, but when you think of Eurodance, it becomes bolder Italian and echoes everywhere, one of the titles that immediately come to mind is "The Rhythm Of The Night". Corona's piece challenges the passage of time from now twenty-five years to this part, and although it represents the aesthetics of a stylistic nuance that lasted about three years (and not a whole decade, as many nostalgics claim), it continues to exert a kind of healing power on an unknown number of DJs who use it to satisfy their audiences to this day.
To achieve this transgenerational success, a DJ, Francesco'Checco' Bontempi, who collected the first congratulations as early as 1985 when he started recording songs like Lee Marrow, is a strong experience gained in the console since the seventies. The single "Shanghai", released by Severo Lombardoni's Discomagic Records, goes through Europe and the following, such as "Sayonara (Don't Stop...)", which are still exposed to oriental influences, "Mr. Fantasy", with obvious cowleyan quotes, and "Don't Stop The Music", which contains rhythmic filo-awards, give him a good reputation.
"The first experience was wonderful, I found myself both in foreign newspapers that brought me into contact with international artists and in the charts with Tina Turner, Duran Duran Duran, Kool & The Gang and many others of this kind," Bontempi says today. "The Italian record, however, was not good to see, for many it was just music that could be used for business, and practically nobody in Italy was surprised by our results in the charts.
Foreigners were always on the advance, the law was dictated by Modern Talking, Michael Cretu and others who produced one success after another. The Bontempi album goes from Italodiscus to Eurodance, through the (happy) bracket of the Italo-Haus, with singles such as "Lot To Learn", "Pain", licensed by the renowned champion through the Channel, "Movin'" and "Do You Want Me", as well as the previous "Bauhaus" by Cappella, released in 1987 by Media Records Gianfranco Bortolotti, and one of the first songs to be released after "Pump Up The Volume" by M.
"<La housemusic per me> for amore a prime vista" profegue. There was a time when they called me crazy because I had records with a higher speed than usual and with a bass that was always the same and monotonous to the ears of those who didn't understand. Bontempi's greatest success, Corona, was born in 1993.
The debut single "The Rhythm Of The Night" will be released in November and represents the spirit and DJ approach of discography. Identifying a sound, a fragment, or a remnant of a reef, then isolating it from its original context and repositioning it in a new world, is the process by which housemusic (and derivatives) takes root, works out ever larger spaces and configures itself as a kind of creative and virtuosic recycling.
The sounds chosen by Bontempi (with Francesco Alberti and Theo Spagna as engineers ), the lyrics written by Annerley Gordon, the future Ann Lee and the construction of the chorus, which soon became the hallmark of the DWA of former Savage Roberto Zanetti, do the rest and inspire dozens of other producers like Emanuele Asti by his own statement in the interview collected in Decadance with another success of those years, "The Summer Is Magic" by Playahitty.
I was certainly not the only one who used other people's samples or ideas, on the contrary, I believe that those who produced music like me back then created a market by pushing the exploration of everything that is part of everyday life today.
I add an anecdote: "The Rhythm Of The Night" was discarded by a person who was working at Dig It International at the time, telling me that it didn't sound good, that it was "old" under construction and that Albertino would never spend such a piece on his Radio DeeJay show. I am convinced that after so many years of "The Rhythm Of The Night" he also hears a bit about himself, because he was the one who baptized him.
For a while it's more than good and the project turns some of Bontempi's old (and less fortunate) insights into gold: "Baby Baby" refreshes Joy & Joyce's "Babe Babe" in 1991, while "Try Me Out" re-reads the 1993 Babe, which came out as Lee Marrow.
"After a worldwide success, it's pretty easy to create follow-ups," explains the author. With " I Don't Wanna Be A Star " in autumn 1995, the year in which the worldwide released album "The Rhythm Of The Night" is released, Bontempi still shows that he has a solid backing to create the right inspirations ("Can't Fantasy The Feeling" by Geraldine Hunt) and to remodel them according to his taste and sensibility, but he is the last one at the DWA who finds recognition at least in Italy.
In our country, interest in Eurodance is beginning to decline and attention is shifting, albeit temporarily, to instrumental music, progressively, far away from the cheap formontempiana. After seven singles and two albums, Bontempi leaves the Corona label, which has been in the hands of another production crew since 2000.
"Success in dancing has always been fleeting, today you're there and tomorrow you're not, so the goal is to beat the iron while it's hot. After the release of my second record "Walking On Music" in 1998, I decided to dedicate myself to something else. It is not easy to keep melodies and sounds unchanged when the world changes, there are times that have a duration, and in dancing, as I said before, everything is changing too quickly.
However, I remember the crown time with great pleasure in view of the results achieved.