#nilerodgers — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #nilerodgers, aggregated by home.social.
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🇺🇦 #NowPlaying on #KEXP's #VarietyMix
Angélique Kidjo feat. Nile Rodgers & IZA:
🎵 Oyaya#AngéliqueKidjo #NileRodgers #IZA
https://open.spotify.com/track/1zWohaIWPbUkDPDXfOrdBD
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🇺🇦 #NowPlaying on #KEXP's #VarietyMix
Angélique Kidjo feat. Nile Rodgers & IZA:
🎵 Oyaya#AngéliqueKidjo #NileRodgers #IZA
https://open.spotify.com/track/1zWohaIWPbUkDPDXfOrdBD
🎶 show playlist 👇
https://open.spotify.com/playlist/6G4PaS9BNkIuGqMo44rbfZ🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
Super-Producer Nile Rodgers Shares Wild Tales About Walking Out on Madonna, Meeting David Bowie, Advice From Frank Sinatra and More
#Variety #News #DavidBowie #Madonna #NileRodgers -
Super-Producer Nile Rodgers Shares Wild Tales About Walking Out on Madonna, Meeting David Bowie, Advice From Frank Sinatra and More
#Variety #News #DavidBowie #Madonna #NileRodgers -
David Bowie Sings “Let’s Dance”
Listen to this track by pioneering style-shifting era hopper David Bowie. It’s “Let’s Dance”, the title track to his 1983 album of the same name. The new album, his fifteenth, was something of a comeback for Bowie who found himself on top forty radio again after a period of exploring the fringes a bit with the shadowy art rock of 1980’s Scary Monsters. After a brief recording slow down between 1981-82 and a change of record labels from RCA to EMI, Bowie was interested in a more straightforward approach to making music for his next album.
Instead of competing with the New Romantics and post punk bands who were vitally influenced by his past output, he moved to other musical territories entirely. In typical Bowie style, he donned a new look and stage persona to suit the new music he was making; that of a blonde pompadoured R&B frontman inspired by Little Richard and the Isley Brothers. He also sought a more accessible and dance-oriented direction to contrast the layered and more angular approach of his previous few records. The new album title says it all. Or, at least it seems to on first listen.
To help him get the funky and dance-oriented feel he wanted, Bowie co-produced the new album with Chic guitarist, writer, and producer Nile Rodgers. A cast of crack musicians appear on this single, including an up and coming Texan guitar player called Stevie Ray Vaughn whose lead guitar lines on this song show that he had a stunning and unique instrumental voice of his own even this early on. As for Rodgers’ own contributions as an instrumentalist, the co-producer added musical sophistication to this track informed by his instinctual way with irresistibly danceable grooves.
A key element that makes “Let’s Dance” work so well is the A-minor 13th chord featured in the song’s central riff. That small but significant compositional tweak evolved from Bowie’s original straight-ahead A-minor chord. Along with the echoey delay effect, this helped to elevate the song from its folky and funereal original form to being subtly menacing, mysterious, and sexy instead. During this post-disco period, Rodgers steered away from Studio 54-style rhythm parts completely. Instead, he touches on jazz harmony as met with post punk atmosphere. He plays his rhythm guitar part straight not syncopated and lets the delay do most of the work.
The collaboration between co-producers Bowie and Rodgers and engineer Bob Clearmountain resulted in David Bowie’s biggest single. It certainly aided in making its namesake album into his best-selling record. Because of these successes, lot of fans of his Berlin period and of Scary Monsters suggested that Bowie had sold out to the mainstream instead of continuing to push the artistic envelope into edgier territory. To them, his new music was too fit for radio and (worst of all) for casual listeners. Preppies were buying this record! Scandal!
With Grammy nominations and wins and heavy rotation on MTV, it was easy to miss what lies beneath this tune that was a top forty radio staple by 1983. Delving deeper, “Let’s Dance” deals in many of the same areas of concern Bowie explored in his earliest work. One of these is the theme of isolation and the alienation that goes along with it. The lyrical call this tune makes is not about a joyous night out partying or in mindlessly dancing to any old song that happens to be playing on the radio. The dancing described here is a dance of danger.
The moonlight under which that dance happens is not romantic moonlight – it’s serious moonlight. It’s the light in the darkness of the times in which it was more important than ever to gather and to move as a whole society toward something better. “Let’s Dance” is a song about peril. But it’s also one that suggests the importance of facing peril together in whatever way that’s necessary in solidarity; if you say run, I’ll run with you. If you say hide, we’ll hide. As always with Bowie, it’s a fight against the idea that such struggles are those we all must face on our own in isolation.
David Bowie reinvented once again! This promo shot found him in his Serious Moonlight period by 1983, which served as his commercial peak.Bowie was not the first artist to explore the metaphor of dance as struggle, of course. Martha Reeves & The Vandella’s “Dancing in the Streets”, which Bowie would (ill-advisedly?) record later on himself is one high profile example of this from decades before. The lines between a joyful night on the town and taking to the streets in angry protest are pretty blurry in R&B songs of that era. The classic side “Hi-Heel Sneakers” is another example of that and possibly even more of a parallel as reflected in the lyrics. Nearly two decades later, the put on your red shoes line is a subtle nod to what that earlier song suggested.
“Let’s Dance” contains those same elements of danger and struggle that lurk under its celebratory surface. As far as social issues and political climates in which he wrote the song are concerned, not much had changed. With that in mind, “Let’s Dance” is not really a party song. It’s a song of disquiet, tension, and resistance. But it’s also a song about reaching out and rebelling against forces that keep people thinking they struggle on their own. Not much had changed there, either. In fact, this is another example in his work in which Bowie declares “you’re not alone!”, a sentiment he’d put forward to a whole other generation over a decade before.
Regardless of that, a lot of hardcore Bowie fans dismissed “Let’s Dance” as mere radio fodder. It was just too big a song. Even Bowie cut it from his setlists by the Nineties. By then he’d gone in other directions into more experimental areas that a big hit single in his live show wouldn’t allow. Yet for his Glastonbury performance in 2000, it returned again in a re-invented form. Before that, he performed a stripped down version in his appearance at the 1996 Bridge School Benefit. That version revealed it as a song of struggle a bit more than the original pop single version does.
Even if Bowie’s Let’s Dance made him more accessible to a wider audience by deliberately aiming for hits and capturing a new generation of listeners along with it, he was still exploring the core ideas of isolation, struggle, and a search for connection in his songwriting. This period of pop radio success was just another facet of his artistry in a career characterized by near-constant re-invention. But whatever face he wore, and whatever style he applied to his work, Bowie always plotted a steady course into some of the darker regions of the human experience in culturally resonant ways.
To explore more about David Bowie during his Serious Moonlight phase, check out this article about the Let’s Dance record on American Songwriter.
For more about Nile Rodgers’ approach to arranging this song, take a look at this video that has him telling the story of how he adapted the song based on Bowie’s original chord progression.
Enjoy!
#80sMusic #DanceRock #DavidBowie #NileRodgers #radioHits -
David Bowie Sings “Let’s Dance”
Listen to this track by pioneering style-shifting era hopper David Bowie. It’s “Let’s Dance”, the title track to his 1983 album of the same name. The new album, his fifteenth, was something of a comeback for Bowie who found himself on top forty radio again after a period of exploring the fringes a bit with the shadowy art rock of 1980’s Scary Monsters. After a brief recording slow down between 1981-82 and a change of record labels from RCA to EMI, Bowie was interested in a more straightforward approach to making music for his next album.
Instead of competing with the New Romantics and post punk bands who were vitally influenced by his past output, he moved to other musical territories entirely. In typical Bowie style, he donned a new look and stage persona to suit the new music he was making; that of a blonde pompadoured R&B frontman inspired by Little Richard and the Isley Brothers. He also sought a more accessible and dance-oriented direction to contrast the layered and more angular approach of his previous few records. The new album title says it all. Or, at least it seems to on first listen.
To help him get the funky and dance-oriented feel he wanted, Bowie co-produced the new album with Chic guitarist, writer, and producer Nile Rodgers. A cast of crack musicians appear on this single, including an up and coming Texan guitar player called Stevie Ray Vaughn whose lead guitar lines on this song show that he had a stunning and unique instrumental voice of his own even this early on. As for Rodgers’ own contributions as an instrumentalist, the co-producer added musical sophistication to this track informed by his instinctual way with irresistibly danceable grooves.
A key element that makes “Let’s Dance” work so well is the A-minor 13th chord featured in the song’s central riff. That small but significant compositional tweak evolved from Bowie’s original straight-ahead A-minor chord. Along with the echoey delay effect, this helped to elevate the song from its folky and funereal original form to being subtly menacing, mysterious, and sexy instead. During this post-disco period, Rodgers steered away from Studio 54-style rhythm parts completely. Instead, he touches on jazz harmony as met with post punk atmosphere. He plays his rhythm guitar part straight not syncopated and lets the delay do most of the work.
The collaboration between co-producers Bowie and Rodgers and engineer Bob Clearmountain resulted in David Bowie’s biggest single. It certainly aided in making its namesake album into his best-selling record. Because of these successes, lot of fans of his Berlin period and of Scary Monsters suggested that Bowie had sold out to the mainstream instead of continuing to push the artistic envelope into edgier territory. To them, his new music was too fit for radio and (worst of all) for casual listeners. Preppies were buying this record! Scandal!
With Grammy nominations and wins and heavy rotation on MTV, it was easy to miss what lies beneath this tune that was a top forty radio staple by 1983. Delving deeper, “Let’s Dance” deals in many of the same areas of concern Bowie explored in his earliest work. One of these is the theme of isolation and the alienation that goes along with it. The lyrical call this tune makes is not about a joyous night out partying or in mindlessly dancing to any old song that happens to be playing on the radio. The dancing described here is a dance of danger.
The moonlight under which that dance happens is not romantic moonlight – it’s serious moonlight. It’s the light in the darkness of the times in which it was more important than ever to gather and to move as a whole society toward something better. “Let’s Dance” is a song about peril. But it’s also one that suggests the importance of facing peril together in whatever way that’s necessary in solidarity; if you say run, I’ll run with you. If you say hide, we’ll hide. As always with Bowie, it’s a fight against the idea that such struggles are those we all must face on our own in isolation.
David Bowie reinvented once again! This promo shot found him in his Serious Moonlight period by 1983, which served as his commercial peak.Bowie was not the first artist to explore the metaphor of dance as struggle, of course. Martha Reeves & The Vandella’s “Dancing in the Streets”, which Bowie would (ill-advisedly?) record later on himself is one high profile example of this from decades before. The lines between a joyful night on the town and taking to the streets in angry protest are pretty blurry in R&B songs of that era. The classic side “Hi-Heel Sneakers” is another example of that and possibly even more of a parallel as reflected in the lyrics. Nearly two decades later, the put on your red shoes line is a subtle nod to what that earlier song suggested.
“Let’s Dance” contains those same elements of danger and struggle that lurk under its celebratory surface. As far as social issues and political climates in which he wrote the song are concerned, not much had changed. With that in mind, “Let’s Dance” is not really a party song. It’s a song of disquiet, tension, and resistance. But it’s also a song about reaching out and rebelling against forces that keep people thinking they struggle on their own. Not much had changed there, either. In fact, this is another example in his work in which Bowie declares “you’re not alone!”, a sentiment he’d put forward to a whole other generation over a decade before.
Regardless of that, a lot of hardcore Bowie fans dismissed “Let’s Dance” as mere radio fodder. It was just too big a song. Even Bowie cut it from his setlists by the Nineties. By then he’d gone in other directions into more experimental areas that a big hit single in his live show wouldn’t allow. Yet for his Glastonbury performance in 2000, it returned again in a re-invented form. Before that, he performed a stripped down version in his appearance at the 1996 Bridge School Benefit. That version revealed it as a song of struggle a bit more than the original pop single version does.
Even if Bowie’s Let’s Dance made him more accessible to a wider audience by deliberately aiming for hits and capturing a new generation of listeners along with it, he was still exploring the core ideas of isolation, struggle, and a search for connection in his songwriting. This period of pop radio success was just another facet of his artistry in a career characterized by near-constant re-invention. But whatever face he wore, and whatever style he applied to his work, Bowie always plotted a steady course into some of the darker regions of the human experience in culturally resonant ways.
To explore more about David Bowie during his Serious Moonlight phase, check out this article about the Let’s Dance record on American Songwriter.
For more about Nile Rodgers’ approach to arranging this song, take a look at this video that has him telling the story of how he adapted the song based on Bowie’s original chord progression.
Enjoy!
#80sMusic #DanceRock #DavidBowie #NileRodgers #radioHits -
David Bowie Sings “Let’s Dance”
Listen to this track by pioneering style-shifting era hopper David Bowie. It’s “Let’s Dance”, the title track to his 1983 album of the same name. The new album, his fifteenth, was something of a comeback for Bowie who found himself on top forty radio again after a period of exploring the fringes a bit with the shadowy art rock of 1980’s Scary Monsters. After a brief recording slow down between 1981-82 and a change of record labels from RCA to EMI, Bowie was interested in a more straightforward approach to making music for his next album.
Instead of competing with the New Romantics and post punk bands who were vitally influenced by his past output, he moved to other musical territories entirely. In typical Bowie style, he donned a new look and stage persona to suit the new music he was making; that of a blonde pompadoured R&B frontman inspired by Little Richard and the Isley Brothers. He also sought a more accessible and dance-oriented direction to contrast the layered and more angular approach of his previous few records. The new album title says it all. Or, at least it seems to on first listen.
To help him get the funky and dance-oriented feel he wanted, Bowie co-produced the new album with Chic guitarist, writer, and producer Nile Rodgers. A cast of crack musicians appear on this single, including an up and coming Texan guitar player called Stevie Ray Vaughn whose lead guitar lines on this song show that he had a stunning and unique instrumental voice of his own even this early on. As for Rodgers’ own contributions as an instrumentalist, the co-producer added musical sophistication to this track informed by his instinctual way with irresistibly danceable grooves.
A key element that makes “Let’s Dance” work so well is the A-minor 13th chord featured in the song’s central riff. That small but significant compositional tweak evolved from Bowie’s original straight-ahead A-minor chord. Along with the echoey delay effect, this helped to elevate the song from its folky and funereal original form to being subtly menacing, mysterious, and sexy instead. During this post-disco period, Rodgers steered away from Studio 54-style rhythm parts completely. Instead, he touches on jazz harmony as met with post punk atmosphere. He plays his rhythm guitar part straight not syncopated and lets the delay do most of the work.
The collaboration between co-producers Bowie and Rodgers and engineer Bob Clearmountain resulted in David Bowie’s biggest single. It certainly aided in making its namesake album into his best-selling record. Because of these successes, lot of fans of his Berlin period and of Scary Monsters suggested that Bowie had sold out to the mainstream instead of continuing to push the artistic envelope into edgier territory. To them, his new music was too fit for radio and (worst of all) for casual listeners. Preppies were buying this record! Scandal!
With Grammy nominations and wins and heavy rotation on MTV, it was easy to miss what lies beneath this tune that was a top forty radio staple by 1983. Delving deeper, “Let’s Dance” deals in many of the same areas of concern Bowie explored in his earliest work. One of these is the theme of isolation and the alienation that goes along with it. The lyrical call this tune makes is not about a joyous night out partying or in mindlessly dancing to any old song that happens to be playing on the radio. The dancing described here is a dance of danger.
The moonlight under which that dance happens is not romantic moonlight – it’s serious moonlight. It’s the light in the darkness of the times in which it was more important than ever to gather and to move as a whole society toward something better. “Let’s Dance” is a song about peril. But it’s also one that suggests the importance of facing peril together in whatever way that’s necessary in solidarity; if you say run, I’ll run with you. If you say hide, we’ll hide. As always with Bowie, it’s a fight against the idea that such struggles are those we all must face on our own in isolation.
David Bowie reinvented once again! This promo shot found him in his Serious Moonlight period by 1983, which served as his commercial peak.Bowie was not the first artist to explore the metaphor of dance as struggle, of course. Martha Reeves & The Vandella’s “Dancing in the Streets”, which Bowie would (ill-advisedly?) record later on himself is one high profile example of this from decades before. The lines between a joyful night on the town and taking to the streets in angry protest are pretty blurry in R&B songs of that era. The classic side “Hi-Heel Sneakers” is another example of that and possibly even more of a parallel as reflected in the lyrics. Nearly two decades later, the put on your red shoes line is a subtle nod to what that earlier song suggested.
“Let’s Dance” contains those same elements of danger and struggle that lurk under its celebratory surface. As far as social issues and political climates in which he wrote the song are concerned, not much had changed. With that in mind, “Let’s Dance” is not really a party song. It’s a song of disquiet, tension, and resistance. But it’s also a song about reaching out and rebelling against forces that keep people thinking they struggle on their own. Not much had changed there, either. In fact, this is another example in his work in which Bowie declares “you’re not alone!”, a sentiment he’d put forward to a whole other generation over a decade before.
Regardless of that, a lot of hardcore Bowie fans dismissed “Let’s Dance” as mere radio fodder. It was just too big a song. Even Bowie cut it from his setlists by the Nineties. By then he’d gone in other directions into more experimental areas that a big hit single in his live show wouldn’t allow. Yet for his Glastonbury performance in 2000, it returned again in a re-invented form. Before that, he performed a stripped down version in his appearance at the 1996 Bridge School Benefit. That version revealed it as a song of struggle a bit more than the original pop single version does.
Even if Bowie’s Let’s Dance made him more accessible to a wider audience by deliberately aiming for hits and capturing a new generation of listeners along with it, he was still exploring the core ideas of isolation, struggle, and a search for connection in his songwriting. This period of pop radio success was just another facet of his artistry in a career characterized by near-constant re-invention. But whatever face he wore, and whatever style he applied to his work, Bowie always plotted a steady course into some of the darker regions of the human experience in culturally resonant ways.
To explore more about David Bowie during his Serious Moonlight phase, check out this article about the Let’s Dance record on American Songwriter.
For more about Nile Rodgers’ approach to arranging this song, take a look at this video that has him telling the story of how he adapted the song based on Bowie’s original chord progression.
Enjoy!
#80sMusic #DanceRock #DavidBowie #NileRodgers #radioHits -
‘The biggest myth? That I got kicked out of Sister Sledge’: Kathy Sledge on sibling rivalry, Chic and disco’s political power https://www.theguardian.com/music/2026/may/28/the-biggest-myth-that-i-got-kicked-out-of-sister-sledge-kathy-sledge-on-sibling-rivalry-chic-and-discos-political-power #Disco #Music #PopAndRock #Culture #DanceMusic #NileRodgers
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‘The biggest myth? That I got kicked out of Sister Sledge’: Kathy Sledge on sibling rivalry, Chic and disco’s political power https://www.theguardian.com/music/2026/may/28/the-biggest-myth-that-i-got-kicked-out-of-sister-sledge-kathy-sledge-on-sibling-rivalry-chic-and-discos-political-power #Disco #Music #PopAndRock #Culture #DanceMusic #NileRodgers
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New York Music Month Unveils 2026 Schedule: Samara Joy, Nile Rodgers, Frankie Grande and More
#Variety #News #NewYorkMusicMonth #NileRodgers -
New York Music Month Unveils 2026 Schedule: Samara Joy, Nile Rodgers, Frankie Grande and More
#Variety #News #NewYorkMusicMonth #NileRodgers -
Dimmi che avevi 15 anni quando uscì "Wild Boys" senza dirmi la tua età. #DuranDuran - Free to Love (feat. #NileRodgers) [Official Music Video] - Invidious https://invidious.nerdvpn.de/watch?v=W1-2XVQs46U
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Dimmi che avevi 15 anni quando uscì "Wild Boys" senza dirmi la tua età. #DuranDuran - Free to Love (feat. #NileRodgers) [Official Music Video] - Invidious https://invidious.nerdvpn.de/watch?v=W1-2XVQs46U
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Song Review: Duran Duran featuring Nile Rodgers – “Free To Love”
In April 2026, Duran Duran released “Free To Love,” a collaboration with Nile Rodgers as a stand-alone single.
http://aeschtunes.com/2026/04/23/song-review-duran-duran-featuring-nile-rodgers-free-to-love/
#Music, #MusicReview, #DuranDuran, #NileRodgers, #2020s, #2020sMusic, #PopMusic, #NewWave, #AeschTunes
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𝗗𝘂𝗿𝗮𝗻 𝗗𝘂𝗿𝗮𝗻 𝗯𝗿𝗲𝗻𝗴𝘁 𝗻𝗶𝗲𝘂𝘄 𝗻𝘂𝗺𝗺𝗲𝗿 𝘂𝗶𝘁 𝗺𝗲𝘁 𝗴𝗼𝗲𝗱𝗲 𝘃𝗿𝗶𝗲𝗻𝗱 𝗡𝗶𝗹𝗲 𝗥𝗼𝗱𝗴𝗲𝗿𝘀
Duran Duran heeft donderdag samen met Nile Rodgers een nieuw nummer uitgebracht. De track met de titel Free to Love is de eerste nieuwe release van de Britse band dit jaar. Duran Duran en Rodgers hebben in het verleden al vaker samen nummers uitgebracht.
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𝗗𝘂𝗿𝗮𝗻 𝗗𝘂𝗿𝗮𝗻 𝗯𝗿𝗲𝗻𝗴𝘁 𝗻𝗶𝗲𝘂𝘄 𝗻𝘂𝗺𝗺𝗲𝗿 𝘂𝗶𝘁 𝗺𝗲𝘁 𝗴𝗼𝗲𝗱𝗲 𝘃𝗿𝗶𝗲𝗻𝗱 𝗡𝗶𝗹𝗲 𝗥𝗼𝗱𝗴𝗲𝗿𝘀
Duran Duran heeft donderdag samen met Nile Rodgers een nieuw nummer uitgebracht. De track met de titel Free to Love is de eerste nieuwe release van de Britse band dit jaar. Duran Duran en Rodgers hebben in het verleden al vaker samen nummers uitgebracht.
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"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E -
"I'm Coming Out" is a song recorded by American singer #DianaRoss. It was written and produced by #Chic members #BernardEdwards and #NileRodgers, and released on August 22, 1980 by #Motown, as the second single from Ross' #selftitled eleventh album, Diana (1980). It peaked at number five on the US #Billboard #Hot100, number one on the Billboard #HotDiscoSingles chart, number seven in France, number eight in Ireland, and number 13 on the #UKSinglesChart.
https://www.youtube.com/watch?v=3pmt-wWzC1E -
I was a snob about cruise performers – Nile Rodgers changed my mind
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I was a snob about cruise performers – Nile Rodgers changed my mind
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Long lost George Michael film and live album set for release later this year https://www.theguardian.com/music/2026/mar/10/new-george-michael-movie-live-album #GeorgeMichael #Music #Film #Culture #NileRodgers #UsNews
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Long lost George Michael film and live album set for release later this year https://www.theguardian.com/music/2026/mar/10/new-george-michael-movie-live-album #GeorgeMichael #Music #Film #Culture #NileRodgers #UsNews
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"Dress You Up" is a song by American singer #Madonna from her second studio album, #LikeAVirgin (1984). It was released as the album's final #single on July 31, 1985, by #SireRecords. Composed by Andrea LaRusso with lyrics by Peggy Stanziale, and produced by #NileRodgers, who also played guitar on the track, it was the final song to be added to the album. Rodgers had asked the writers to compose something similar to the work of his band #Chic but, due to LaRusso.
https://www.youtube.com/watch?v=3qQ65BHkXeM -
"Dress You Up" is a song by American singer #Madonna from her second studio album, #LikeAVirgin (1984). It was released as the album's final #single on July 31, 1985, by #SireRecords. Composed by Andrea LaRusso with lyrics by Peggy Stanziale, and produced by #NileRodgers, who also played guitar on the track, it was the final song to be added to the album. Rodgers had asked the writers to compose something similar to the work of his band #Chic but, due to LaRusso.
https://www.youtube.com/watch?v=3qQ65BHkXeM -
"Modern Love" is a song written by the English singer-songwriter #DavidBowie. It was released as the opening track on his 1983 album #LetsDance and issued as the third single from the album later in the year. Co-produced by Bowie and #NileRodgers of the American band #Chic, it is a #rock song that contains elements of #newWaveMusic. It was recorded at the #PowerStation in #Manhattan and was one of the first tracks recorded for the album.
https://www.youtube.com/watch?v=rJCBYUKMvMQ -
"Modern Love" is a song written by the English singer-songwriter #DavidBowie. It was released as the opening track on his 1983 album #LetsDance and issued as the third single from the album later in the year. Co-produced by Bowie and #NileRodgers of the American band #Chic, it is a #rock song that contains elements of #newWaveMusic. It was recorded at the #PowerStation in #Manhattan and was one of the first tracks recorded for the album.
https://www.youtube.com/watch?v=rJCBYUKMvMQ -
"Le Freak" is a #funk-#disco song by American disco band Chic, released in September 1978 by #AtlanticRecords as the first single from their second album, #CestChic (1978). It was written and produced by #BernardEdwards and #NileRodgers, and became the band's third single and first US #Billboard #Hot100 and #RAndB number-one hit song. Along with the tracks "#IWantYourLove" and "Chic Cheer", "Le Freak" scored number one on the disco charts for seven weeks.
https://www.youtube.com/watch?v=QpCoSf8QmQM -
"Le Freak" is a #funk-#disco song by American disco band Chic, released in September 1978 by #AtlanticRecords as the first single from their second album, #CestChic (1978). It was written and produced by #BernardEdwards and #NileRodgers, and became the band's third single and first US #Billboard #Hot100 and #RAndB number-one hit song. Along with the tracks "#IWantYourLove" and "Chic Cheer", "Le Freak" scored number one on the disco charts for seven weeks.
https://www.youtube.com/watch?v=QpCoSf8QmQM -
"The Wild Boys" is the twelfth single by the English #popRock band #DuranDuran, released on 22 October 1984 in the United Kingdom. The song was the only studio track on the band's live album #Arena (1984), and was produced by #NileRodgers, who had previously remixed the band's previous single "#TheReflex". It was recorded at the end of July 1984 at Maison Rouge Studios in London.
https://www.youtube.com/watch?v=cWLWQ1AK5a8 -
"The Wild Boys" is the twelfth single by the English #popRock band #DuranDuran, released on 22 October 1984 in the United Kingdom. The song was the only studio track on the band's live album #Arena (1984), and was produced by #NileRodgers, who had previously remixed the band's previous single "#TheReflex". It was recorded at the end of July 1984 at Maison Rouge Studios in London.
https://www.youtube.com/watch?v=cWLWQ1AK5a8 -
Ted Tocks Covers
Le Freak
Originally posted on August 11, 2023
On this day in 1978, Chic began a 7 week run at the top of the Billboard Hot 100 charts.
“All that pressure got you down
Has your head spinning all around
Feel the rhythm, check the ride
Come on along and have a real good time”#Chic #NileRodgers #BernardEdwards #EdgarSampson #TheUkuleleOrchestra #Slash #Prince
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🇺🇦 #NowPlaying on #BBC6Music's #6MusicsRaveForever
Bernard Edwards, Nile Rodgers & Sister Sledge:
🎵 Lost in Music (Dimitri from Paris Remix) [2018 Remaster] -
🇺🇦 #NowPlaying on #BBC6Music's #6MusicsRaveForever
Bernard Edwards, Nile Rodgers & Sister Sledge:
🎵 Lost in Music (Dimitri from Paris Remix) [2018 Remaster] -
🇺🇦 #NowPlaying on #KEXP's #Continent
D’Angelo, Femi Kuti + Macy Gray feat. Roy Hargrove, Nile Rodgers, The Soultronics + The Positive Force:
🎵 Water Get No Enemy#DAngelo #FemiKuti+MacyGray #RoyHargrove #NileRodgers #TheSoultronics+ThePositiveForce
🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
🇺🇦 #NowPlaying on #KEXP's #Continent
D’Angelo, Femi Kuti + Macy Gray feat. Roy Hargrove, Nile Rodgers, The Soultronics + The Positive Force:
🎵 Water Get No Enemy#DAngelo #FemiKuti+MacyGray #RoyHargrove #NileRodgers #TheSoultronics+ThePositiveForce
🎶 KEXP playlist 👇
https://open.spotify.com/playlist/6VNALrOa3gWbk794YuIrwg -
𝗡𝗶𝗹𝗲 𝗥𝗼𝗱𝗴𝗲𝗿𝘀 𝗺𝗼𝗲𝗱𝗶𝗴𝗱𝗲 𝗗'𝗔𝗻𝗴𝗲𝗹𝗼 𝗮𝗮𝗻 𝗼𝗺 𝗺𝘂𝘇𝗶𝗲𝗸 𝘂𝗶𝘁 𝘁𝗲 𝗯𝗿𝗲𝗻𝗴𝗲𝗻
De Amerikaanse muzikant en songwriter Nile Rodgers heeft D'Angelo aan het begin van zijn carrière aangemoedigd om zijn muziek uit te brengen. Dat deelt Rodgers in een bericht op Instagram naar aanleiding van het overlijden van D'Angelo. De soulartiest overleed dinsdag op 51-jarige leeftijd aan de...
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𝗡𝗶𝗹𝗲 𝗥𝗼𝗱𝗴𝗲𝗿𝘀 𝗺𝗼𝗲𝗱𝗶𝗴𝗱𝗲 𝗗'𝗔𝗻𝗴𝗲𝗹𝗼 𝗮𝗮𝗻 𝗼𝗺 𝗺𝘂𝘇𝗶𝗲𝗸 𝘂𝗶𝘁 𝘁𝗲 𝗯𝗿𝗲𝗻𝗴𝗲𝗻
De Amerikaanse muzikant en songwriter Nile Rodgers heeft D'Angelo aan het begin van zijn carrière aangemoedigd om zijn muziek uit te brengen. Dat deelt Rodgers in een bericht op Instagram naar aanleiding van het overlijden van D'Angelo. De soulartiest overleed dinsdag op 51-jarige leeftijd aan de...
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“Notorious” features some writing & guitar work from Nile Rodgers- you should definitely listen to this great episode (https://youtu.be/mrOpxQ6OFno?si=o3IOX69r8fJLbIhx) of the wonderful “It’s the Groove” podcast about his influence on and work with Duran Duran
#RetroView #DuranDuran #NileRodgers -
“Notorious” features some writing & guitar work from Nile Rodgers- you should definitely listen to this great episode (https://youtu.be/mrOpxQ6OFno?si=o3IOX69r8fJLbIhx) of the wonderful “It’s the Groove” podcast about his influence on and work with Duran Duran
#RetroView #DuranDuran #NileRodgers -
"Upside Down" is a song written and produced by #Chic members #NileRodgers and #BernardEdwards. It was recorded by American singer #DianaRoss and issued on June 18, 1980, from #Motown as the lead single from her eleventh studio album, Diana (1980). The song hit number one on the #Billboard Hot 100 chart on September 6, 1980, and stayed there for four weeks. It also hit number one on the Billboard #Disco and #Soul charts.
https://www.youtube.com/watch?v=Po0BbGMSX4g -
"Upside Down" is a song written and produced by #Chic members #NileRodgers and #BernardEdwards. It was recorded by American singer #DianaRoss and issued on June 18, 1980, from #Motown as the lead single from her eleventh studio album, Diana (1980). The song hit number one on the #Billboard Hot 100 chart on September 6, 1980, and stayed there for four weeks. It also hit number one on the Billboard #Disco and #Soul charts.
https://www.youtube.com/watch?v=Po0BbGMSX4g -
#OnThisDay in 1952, #NileRodgers, American guitarist (Chic - "Le Freak"), and music producer (Sister Sledge; David Bowie - "Let's Dance"), born in The Bronx, New York, City.
#HappyBirthday #73 🎉🎂✨🍰🥳🎊 -
Chic and Nile Rodgers with Chic’s 1979 hit single “I Want Your Love” (https://youtu.be/JgX9XMQqauY?si=S0LH-tQQZoEVF5ZO) from their second album “C'est Chic” (https://youtube.com/playlist?list=OLAK5uy_nr6Oayul14irh3I6oz2v9KGCBcyFPIPxY&si=NHdaQnm0bAASA8dR). This performance is from their 2007 appearance at “The Night of the Proms” in Belgium (https://youtube.com/playlist?list=PL-HbgyRjahaOI2qeU_84KRYW7Yv334Sda&si=3sWH5H6E2tPMtBhQ)
#RetroView #Chic #NileRodgers #funk -
𝗦𝗼𝗻 𝗠𝗶𝗲𝘂𝘅 𝘁𝗿𝗲𝗲𝗱𝘁 𝗼𝗽 𝗺𝗲𝘁 𝗡𝗶𝗹𝗲 𝗥𝗼𝗱𝗴𝗲𝗿𝘀 𝗶𝗻 𝗜𝘁𝗮𝗹𝗶ë
Son Mieux is deze zomer de supporting act van Nile Rodgers tijdens de optredens van de 72-jarige muzikant in Italië. Dat nieuws deelt de band via Instagram. "We zijn ontzettend enthousiast om te kunnen aankondigen dat we Nile Rodgers mogen ondersteunen tijdens zijn Italiaanse tourdata deze juli", aldus de Nederlandse...
https://www.rtl.nl/boulevard/artikel/5501347/son-mieux-treedt-op-met-nile-rodgers-italie
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𝗦𝗼𝗻 𝗠𝗶𝗲𝘂𝘅 𝘁𝗿𝗲𝗲𝗱𝘁 𝗼𝗽 𝗺𝗲𝘁 𝗡𝗶𝗹𝗲 𝗥𝗼𝗱𝗴𝗲𝗿𝘀 𝗶𝗻 𝗜𝘁𝗮𝗹𝗶ë
Son Mieux is deze zomer de supporting act van Nile Rodgers tijdens de optredens van de 72-jarige muzikant in Italië. Dat nieuws deelt de band via Instagram. "We zijn ontzettend enthousiast om te kunnen aankondigen dat we Nile Rodgers mogen ondersteunen tijdens zijn Italiaanse tourdata deze juli", aldus de Nederlandse...
https://www.rtl.nl/boulevard/artikel/5501347/son-mieux-treedt-op-met-nile-rodgers-italie
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Happy Birthday, Jimmy Carter – Der Rock-’n‘-Roll-Präsident (2020)
„Wie kein zweiter US-Politiker begeisterte sich Jimmy Carter öffentlich für Popmusik. Mit Unterstützung von Stars wie Bob Dylan konnte sich der demokratische Kandidat bei den US-Wahlen 1977 gegen den Republikaner Gerald Ford durchsetzen.“ (ARTE)
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Happy Birthday, Jimmy Carter – Der Rock-’n‘-Roll-Präsident (2020)
„Wie kein zweiter US-Politiker begeisterte sich Jimmy Carter öffentlich für Popmusik. Mit Unterstützung von Stars wie Bob Dylan konnte sich der demokratische Kandidat bei den US-Wahlen 1977 gegen den Republikaner Gerald Ford durchsetzen.“ (ARTE)
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Happy Birthday, Jimmy Carter – Der Rock-’n‘-Roll-Präsident (2020)
„Wie kein zweiter US-Politiker begeisterte sich Jimmy Carter öffentlich für Popmusik. Mit Unterstützung von Stars wie Bob Dylan konnte sich der demokratische Kandidat bei den US-Wahlen 1977 gegen den Republikaner Gerald Ford durchsetzen.“ (ARTE)
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Happy Birthday, Jimmy Carter – Der Rock-’n‘-Roll-Präsident (2020)
„Wie kein zweiter US-Politiker begeisterte sich Jimmy Carter öffentlich für Popmusik. Mit Unterstützung von Stars wie Bob Dylan konnte sich der demokratische Kandidat bei den US-Wahlen 1977 gegen den Republikaner Gerald Ford durchsetzen.“ (ARTE)
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Happy Birthday, Jimmy Carter – Der Rock-’n‘-Roll-Präsident (2020)
„Wie kein zweiter US-Politiker begeisterte sich Jimmy Carter öffentlich für Popmusik. Mit Unterstützung von Stars wie Bob Dylan konnte sich der demokratische Kandidat bei den US-Wahlen 1977 gegen den Republikaner Gerald Ford durchsetzen.“ (ARTE)