Burning The Ground Exclusive 1978
NEW 2024 Transfer!
NEW Meticulous Audio Restoration!
Originally posted November 10, 2012
“Chase” (also known as “The Chase”) is a 1978 instrumental composition by Italian music producer Giorgio Moroder. It was released as a single during 1978 from his Academy Award-winning soundtrack album Midnight Express (1978), and was a disco instrumental that was subsequently extended and released as a 13:00 12″ maxi single. It made the Billboard Hot 100 in January 1979, peaking at number 33, and the UK Singles Chart, peaking at number 48.
Created especially for the film Midnight Express, Alan Parker, the director of the film, explicitly asked Moroder for a song in the style of “I Feel Love”, which Moroder composed for Donna Summer. It was Moroder’s second time composing a movie soundtrack after his work on 1972’s German softcore sex film “Sex Life in a Convent”. The song’s main melody was played on a Roland SH-2000 synthesizer, while the bass lines were played on a Minimoog synthesizer. The track also has a flanging effect produced by the MXR Flanger, while other instruments used include an ARP/Solina String Ensemble, Fender Rhodes, Hohner Clavinet, and piano.
Although a disco piece, “Chase”, along with “I Feel Love”, is more specifically considered the pioneering introduction of the hi-NRG genre, which came to prominence in the early 1980s. The music was arranged by Harold Faltermeyer under the leadership of Giorgio Moroder.
Pitchfork named it the 175th best song of the 1970s, saying, “Any time someone describes a piece of music as ‘cinematic,’ there’s a decent chance they’re thinking, consciously or subconsciously, of ‘Chase’. It’s impossible to overstate, let alone list, the number of composers and films who’ve ripped off ‘Chase’.”
I also created custom front cover art for this post.
SIDE A:
Chase 13:06
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
U.S. CHART HISTORY:
| Year | Single | Chart | Position |
|---|---|---|---|
| 1979 | Chase | U.S. Billboard Hot 100 | #33 |
| 1979 | Chase | U.S. Billboard Adult Contemporary Tracks | #42 |
| 1979 | Chase | U.S. Billboard Hot Dance/Disco | #31 |
RELEASE INFORMATION:
Label: Casablanca – NBD 20146 DJ
Format: Vinyl, 12″, 33 ⅓ RPM, Single Sided, Promo
Country: US
Released: 1978
Genre: Electronic, Stage & Screen
Style: Disco, Soundtrack
CREDITS:
- Arranged By – G. Moroder*, H. Faltermeier*
- Mastered By – Brian Gardner
- Producer, Written-By – Giorgio Moroder
NOTES:
Promotional Copy Not For Sale
Music From The Original Motion Picture Soundtrack Of Midnight Express
℗ 1978 Casablanca Record & FilmWorks, Inc.
Made in U.S.A.
Special One-Sided Record (Play Other Side)
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
burningtheground.net
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon 2M Black PnP MkII
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
**24bit FLAC Only Available For Seven Days!
Password: burningtheground
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The Harlem drag ball scene — described by the social activist and writer Langston Hughes as “the strangest and gaudiest of all Harlem’s spectacles in the 1920s” — fragmented along racial lines in the early 1960s when Black queens became tired of having to “whiten up” if they wanted to have a chance of winning any in-house beauty contest. By the early 1970s, Black drag houses started to multiply and soon outstripped their white counterparts in terms of glamour, style and popularity. As contests expanded, categories multiplied and competition intensified, with prizes awarded to entrants whose drag was the most believable, the most real. Released in 1978, Cheryl Lynn’s feisty, upbeat disco track “Got to Be Real” became an instant ballroom classic.
