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When you look at some of the Top of the Pops performances of things like ‘Automatic Lover’, they could be straight out of a nightclub scene in Battlestar Galactica.” “Then there were disco outfits doing in that same direction as well – Labelle, Space (the French band), Hot Gossip etc – and they sort of met in the middle.
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Plus they all had disco-funk-styled soundtracks too, as presumably, that was what was cheapest and easiest to get session musicians to do at that point as well as being modish and fashionable. “Sci-fi in the late ’70s on the other hand had got a bit, well, disco though, with tacky spaceship designs, glittery spacesuits, and so on – things like Buck Rogers in the 25th Century, Battlestar Galactica, Space Sentinels, even Star Wars to an extent, and of course, Rose denounced K-9 as ‘a bit disco’ in the revived Doctor Who.
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As Tim Worthington, author of Top of the Box: The Complete Guide to BBC Records and Tapes Singles, explains: In this fertile atmosphere, with its focus on space themes and out-of-this-world instruments, the popularity of science fiction film was also brewing, as the primary era of ‘Space Disco’ largely follows the trajectory of the Star Wars original trilogy. As disco began to emerge from the underground clubs of the early ‘70s, it brought with it notions of electronica, especially in the work of Giorgio Moroder, whose use of the Moog set the template for the synth-heavy style of the ‘80s. Disco also became a reaction against more down-to-earth, self consciously “real” movements like prog or Northern Soul.Īfrofuturists began to experiment with mixing space-age sounds with African-American art, in tracks such as Ornette Coleman’s Science Fiction (1972) and LaBelle’s ‘Space Children’ (1974). Prog rock also set the template for later space disco, as they incorporated synthesizers into songs that sought to break away from a restricted idea of space, inner and outer, whilst of course, glam rock artists such as Ziggy Stardust and the Spiders from Mars took influence from 2001: A Space Odyssey (1962) into their art. From Sid Bass’ From Another World (1956) to Joe Meek’s Telstar (1962), the musical conventions and iconography of space and science fiction were already leaking into the musical mainstream. This was not, however, a completely isolated phenomenon: retroactively termed ‘Space Age Pop’, many artists of the late 50s and early 60s replicated the electronically driven sounds of films such as Forbidden Planet (1956) within their work. ? Lexx | ‘Brigadoom’ – An Oral History of the Infamous Musical In short, the 1970s was the decade where science-fiction went pop when sci-fi went disco. Some pop videos also took visual cues from sci-fi, from costumes to blue screen and early video effects, which were then replicated on television pop shows such as Top of the Pops. Others received disco or pop treatment at the same time, creating a feedback loop between the two. Just look at the theme to Space: 1999 Season 2, with its pounding, over-dramatic disco beat and electronic score.
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But the influences of disco music and fashion cannot only be felt within their series: many theme tunes and instrumental scores took influence from disco.
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It seemed inevitable that the two most integral types of pop culture at the time should join together.ġ970s science-fiction, particularly the live-action series of Gerry Anderson ( Space: 1999, of course, but also UFO), Blake’s 7 (1978-1981), Star Wars (1977), the 1979 Star Trek film, and other properties such as The Six Million Dollar Man (1973-1978), has been given the name ‘disco sci-fi’ by many outlets such as PopMatters and Disco Mania.
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The musical genres also began to make themselves felt in TV and film as diverse as Starsky and Hutch (1975-1979) and Space: 1999 (1975-1977), both through their theme tunes and their content. Pop albums with covers featuring robots and girls in silver dresses began to appear. This was also true in musical terms, as prog and folk rock began to fall by the wayside in both the United Kingdom and America in favor of the more image-focused glam rock and disco. Gone were (for the most part) the hard-hitting social satires of the 1960s: instead jumpsuits, monster-of-the-week, and pop culture influences abounded.
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