Editing Disco (section)

===1974–1977: Rise to mainstream===
From 1974 to 1977, disco music increased in popularity as many disco songs topped the charts. [[The Hues Corporation]]'s "[[Rock the Boat (The Hues Corporation song)|Rock the Boat]]" (1974), a US number-one [[Single (music)|single]] and million-seller, was one of the early disco songs to reach number one. The same year saw the release of "[[Kung Fu Fighting]]", performed by [[Carl Douglas]] and produced by [[Biddu]], which reached number one in both the UK and US, and became the best-selling single of the year<ref name="The Book of Golden Discs">{{cite book| first= Joseph| last= Murrells| year= 1978| title= The Book of Golden Discs| edition= 2nd| publisher= Barrie and Jenkins Ltd| location= London| page= [https://archive.org/details/bookofgoldendisc00murr/page/344 344]| isbn= 0-214-20512-6| url= https://archive.org/details/bookofgoldendisc00murr/page/344}}</ref> and one of the [[List of best-selling singles worldwide|best-selling singles of all time]] with 11&nbsp;million records sold worldwide,<ref name="metro_biddu">{{cite web|title=Biddu|first=James|last=Ellis|work=[[Metro (British newspaper)|Metro]]|date=October 27, 2009|url=http://www.metro.co.uk/showbiz/interviews/412-biddu|access-date=April 17, 2011|archive-url=https://web.archive.org/web/20110902182831/http://www.metro.co.uk/showbiz/interviews/412-biddu|archive-date=September 2, 2011|url-status=live}}</ref><ref name="times_2004">{{cite web|date=August 20, 2004|title=It's a big step from disco to Sanskrit chants, but Biddu has made it|first=Malika|last=Browne|work=[[The Sunday Times]]|url=https://www.thetimes.com/article/its-a-big-step-from-disco-to-sanskrit-chants-but-biddu-has-made-it-n796tx7klww |access-date=May 30, 2011}}</ref> helping to popularize disco to a great extent.<ref name="metro_biddu"/> Another notable disco success that year was [[George McCrae]]'s "[[Rock Your Baby]]":<ref name="Moore-Gilbert">{{cite book|title=The Arts in the 1970s: Cultural Closure|url=https://books.google.com/books?id=7eWo7eGPx8AC&q=%22list+of+1970s+best-sellers%22|last=Moore-Gilbert|first=Bart|publisher=Routledge|date=March 11, 2002|access-date=May 30, 2012|isbn=9780415099066|archive-date=May 22, 2024|archive-url=https://web.archive.org/web/20240522080000/https://books.google.com/books?id=7eWo7eGPx8AC&q=%22list+of+1970s+best-sellers%22|url-status=live}}</ref> it became the United Kingdom's first number one disco single.<ref>{{cite book|title=The Book of Golden Discs|url=https://archive.org/details/bookofgoldendisc00murr|url-access=registration|quote=Biggest selling singles discs.|edition=2, illustrated|first=Joseph|last=Murrells|publisher=[[Barrie & Jenkins]]|isbn=0-214-20480-4|year=1978}}</ref><ref name="Moore-Gilbert" />

In the northwestern sections of the United Kingdom, the [[northern soul]] explosion, which started in the late 1960s and peaked in 1974, made the region receptive to disco, which the region's disc jockeys were bringing back from New York City. The shift by some DJs to the newer sounds coming from the U.S. resulted in a split in the scene, whereby some abandoned the 1960s soul and pushed a modern soul sound which tended to be more closely aligned with disco than soul.

[[File:Gloria Gaynor (1976).jpg|thumb|left|upright=0.85|[[Gloria Gaynor]] in 1976]]
In 1975, [[Gloria Gaynor]] released her first [[Gramophone record|vinyl]] [[album]], which included a remake of [[the Jackson 5]]'s "[[Never Can Say Goodbye]]" (which, in fact, is also the [[Never Can Say Goodbye (Gloria Gaynor album)|album title]]) and two other songs, "Honey Bee" and her disco version of "[[Reach Out I'll Be There|Reach Out (I'll Be There)]]". The album first topped the Billboard disco/dance charts in November 1974. Later in 1978, Gaynor's number-one disco song was "[[I Will Survive]]", which was seen as a symbol of female strength and a gay anthem,<ref>{{cite journal|last=Hubbs|first=Nadine|date=May 1, 2007|title='I Will Survive': musical mappings of queer social space in a disco anthem|url=https://zenodo.org/record/854793|journal=Popular Music|volume=26|issue=2|pages=231–244|doi=10.1017/S0261143007001250|s2cid=146390768|via=Cambridge Core|access-date=September 6, 2019|archive-url=https://web.archive.org/web/20170905142529/https://zenodo.org/record/854793/files/article.pdf|archive-date=September 5, 2017|url-status=dead}}</ref> like her further disco hit, a 1983 remake of "[[I Am What I Am (Broadway musical song)|I Am What I Am]]". In 1979 she released "[[Let Me Know (I Have a Right)]]", a single which gained popularity in the civil rights movements. Also in 1975, [[Vincent Montana Jr.]]'s [[Salsoul Orchestra]] contributed with their Latin-flavored orchestral dance song "Salsoul Hustle", reaching number four on the Billboard Dance Chart; their 1976 hits were "[[Tangerine (1941 song)|Tangerine]]" and "Nice 'n' Naasty", the first being a cover of a 1941 song.{{citation needed|date=April 2018}}

[[File:Fly, Robin, Fly - Cash Box ad 1975.jpg|thumb|upright=0.85|Advertisement for [[Silver Convention]]'s "[[Fly, Robin, Fly]]", October 18, 1975]] 
Songs such as [[Van McCoy]]'s 1975 "[[The Hustle (song)|The Hustle]]" and the humorous [[Joe Tex]] 1977 "[[Ain't Gonna Bump No More (With No Big Fat Woman)]]" gave names to the popular disco dances "the Bump" and "the Hustle". Other notable early successful disco songs include [[Barry White]]'s "[[You're the First, the Last, My Everything]]" (1974); [[Labelle]]'s "[[Lady Marmalade]]" (1974)'; [[Disco-Tex and the Sex-O-Lettes]]' "[[Get Dancin']]" (1974); [[Earth, Wind & Fire]]'s "[[Shining Star (Earth, Wind & Fire song)|Shining Star]]" (1975); [[Silver Convention]]'s "[[Fly, Robin, Fly]]" (1975) and "[[Get Up and Boogie (song)|Get Up and Boogie]]" (1976); [[Vicki Sue Robinson]]'s "[[Turn the Beat Around]]" (1976); and "[[More, More, More]]" (1976) by [[Andrea True]] (a former pornographic actress during the [[Golden Age of Porn]], an era largely contemporaneous with the height of disco).

Formed by [[Harry Wayne Casey]] (a.k.a. "KC") and [[Richard Finch (musician)|Richard Finch]], Miami's [[KC and the Sunshine Band]] had a string of disco-definitive top-five singles between 1975 and 1977, including "[[Get Down Tonight]]", "[[That's the Way (I Like It)]]", "[[(Shake, Shake, Shake) Shake Your Booty]]", "[[I'm Your Boogie Man]]", "[[Boogie Shoes]]", and "[[Keep It Comin' Love]]". In this period, rock bands like the English [[Electric Light Orchestra]] featured in their songs a violin sound that became a staple of disco music, as in the 1975 hit "[[Evil Woman (Electric Light Orchestra song)|Evil Woman]]", although the genre was correctly described as [[Progressive rock|orchestral rock]].

Other disco producers such as [[Tom Moulton]] took ideas and techniques from [[dub music]] (which came with the increased [[Jamaicans|Jamaican]] migration to New York City in the 1970s) to provide alternatives to the "four on the floor" style that dominated. DJ Larry Levan utilized styles from [[Dub music|dub]] and [[jazz]] and remixing techniques to create early versions of [[house music]] that sparked the genre.<ref>{{cite book
| last =Shapiro
| first =Peter
| title =Modulations: A History of Electronic Music
| url =https://archive.org/details/impossibledancec00buck
| url-access =registration
| publisher =Caipirinha Productions, Inc.
| year =2000
| pages =254
| isbn =978-0-8195-6498-6
}} see p.45, 46</ref>

====Motown turning disco====
[[Norman Whitfield]] was an influential producer and songwriter at [[Motown records]], renowned for creating innovative "[[psychedelic soul]]" songs with many hits for [[Marvin Gaye]], [[The Velvelettes]], [[The Temptations]], and [[Gladys Knight & the Pips]]. From around the production of the Temptations album ''[[Cloud Nine (The Temptations album)|Cloud Nine]]'' in 1968, he incorporated some psychedelic influences and started to produce longer, dance-friendly tracks, with more room for elaborate rhythmic instrumental parts. An example of such a long psychedelic soul track is "[[Papa Was a Rollin' Stone]]", which appeared as a single edit of almost seven minutes and an approximately 12-minute-long 12" version in 1972. By the early 1970s, many of Whitfield's productions evolved more and more towards [[funk]] and disco, as heard on albums by [[the Undisputed Truth]] and the 1973 album ''[[G.I.T.: Get It Together]]'' by [[The Jackson 5]]. [[The Undisputed Truth]], a Motown recording act assembled by Whitfield to experiment with his psychedelic soul production techniques, found success with their 1971 song "[[Smiling Faces Sometimes]]". Their disco single "You + Me = Love" (number 43) was produced by Whitfield and made number 2 on the [[Dance Club Songs|US dance chart]] in 1976.

In 1975, Whitfield left Motown and founded his own label [[Whitfield records]], on which also "You + Me = Love" was released. Whitfield produced some more disco hits, including "[[Car Wash (song)|Car Wash]]" (1976) by [[Rose Royce]] from the [[Car Wash: Original Motion Picture Soundtrack|album soundtrack]] to the 1976 film [[Car Wash (film)|''Car Wash'']]. In 1977, singer, songwriter, and producer [[Willie Hutch]], who had been signed to Motown since 1970, now signed with Whitfield's new label, and scored a successful disco single with his song [[In and Out (Willie Hutch song)|"In and Out"]] in 1982.
 
[[File:Diana Ross 1976.jpg|thumb|right|upright=0.85|[[Diana Ross]] in 1976]]
Other Motown artists turned to disco as well. [[Diana Ross]] embraced the disco sound with her successful 1976 outing "[[Love Hangover]]" from her self-titled album. Her 1980 dance classics "[[Upside Down (Diana Ross song)|Upside Down]]" and "[[I'm Coming Out]]" were written and produced by [[Nile Rodgers]] and [[Bernard Edwards]] of the group [[Chic (band)|Chic]]. [[The Supremes]], the group that made Ross famous, scored a handful of hits in the disco clubs without her, most notably 1976's "[[I'm Gonna Let My Heart Do the Walking]]" and, their last charted single before disbanding, 1977's "You're My Driving Wheel".

At the request of Motown that he produce songs in the disco genre, [[Marvin Gaye]] released "[[Got to Give It Up]]" in 1978, despite his dislike of disco. He vowed not to record any songs in the genre and actually wrote the song as a parody. However, several of Gaye's songs have disco elements, including "[[I Want You (Marvin Gaye song)|I Want You]]" (1975). [[Stevie Wonder]] released the disco single "[[Sir Duke]]" in 1977 as a tribute to [[Duke Ellington]], the influential [[jazz]] legend who had died in 1974. [[Smokey Robinson]] left the Motown group [[The Miracles]] for a solo career in 1972 and released his third solo album ''[[A Quiet Storm]]'' in 1975, which spawned and lent its name to the "[[Quiet Storm]]" musical programming format and subgenre of R&B. It contained the disco single "[[Baby That's Backatcha]]". Other Motown artists who scored disco hits were Robinson's former group, the Miracles, with [[Love Machine (The Miracles song)|"Love Machine"]] (1975), [[Eddie Kendricks]] with [[Keep On Truckin' (song)|"Keep On Truckin'"]] (1973), [[The Originals (band)|the Originals]] with "[[Down to Love Town]]" (1976), and [[Thelma Houston]] with her cover of the [[Harold Melvin and the Blue Notes]] song "[[Don't Leave Me This Way]]" (1976). The label continued to release successful songs into the 1980s with [[Rick James]]'s "[[Super Freak]]" (1981), and the [[Commodores]]' "[[Lady (You Bring Me Up)]]" (1981).

Several of Motown's solo artists who left the label went on to have successful disco songs. [[Mary Wells]], Motown's first female superstar with her signature song "[[My Guy]]" (written by Smokey Robinson), abruptly left the label in 1964. She briefly reappeared on the charts with the disco song [[Gigolo (Mary Wells song)|"Gigolo"]] in 1980. [[Jimmy Ruffin]], the elder brother of [[the Temptations]] lead singer [[David Ruffin]], was also signed to Motown and released his most successful and well-known song "[[What Becomes of the Brokenhearted]]" as a single in 1966. Ruffin eventually left the record label in the mid-1970s, but saw success with the 1980 disco song "[[Hold On (To My Love)]]", which was written and produced by [[Robin Gibb]] of the Bee Gees, for his album ''[[Sunrise (Jimmy Ruffin album)|Sunrise]]''. [[Edwin Starr]], known for his Motown protest song "[[War (The Temptations song)|War]]" (1970), reentered the charts in 1979 with a pair of disco songs, "[[Contact (Edwin Starr song)|Contact]]" and "[[H.A.P.P.Y. Radio (song)|H.A.P.P.Y. Radio]]". [[Kiki Dee]] became the first white British singer to sign with Motown in the US, and released one album, ''Great Expectations'' (1970), and two singles "The Day Will Come Between Sunday and Monday" (1970) and "Love Makes the World Go Round" (1971), the latter giving her first-ever chart entry (number 87 on the US Chart). She soon left the company and signed with [[Elton John]]'s [[The Rocket Record Company]], and in 1976 had her biggest and best-known single, "[[Don't Go Breaking My Heart]]", a disco duet with John. The song was intended as an affectionate disco-style pastiche of the Motown sound, in particular the various duets recorded by Marvin Gaye with [[Tammi Terrell]] and [[Kim Weston]].

Many Motown groups who had left the record label charted with disco songs. [[The Jackson 5]], one of Motown's premier acts in the early 1970s, left the record company in 1975 ([[Jermaine Jackson]], however, remained with the label) after successful songs like "[[I Want You Back]]" (1969) and "[[ABC (The Jackson 5 song)|ABC]]" (1970), and even the disco song "[[Dancing Machine]]" (1974). Renamed as 'the Jacksons' (as Motown owned the name 'the Jackson 5'), they went on to find success with disco songs like "Blame It on the Boogie" (1978), "[[Shake Your Body (Down to the Ground)]]" (1979), and "Can You Feel It?" (1981) on the Epic label.

[[The Isley Brothers]], whose short tenure at the company had produced the song "[[This Old Heart of Mine (Is Weak for You)]]" in 1966, went on release successful disco songs like "[[It's a Disco Night (Rock Don't Stop)]]" (1979). [[Gladys Knight & the Pips]], who recorded the most successful version of "[[I Heard It Through the Grapevine]]" (1967) before Marvin Gaye, scored commercially successful singles such as "Baby, Don't Change Your Mind" (1977) and "Bourgie, Bourgie" (1980) in the disco era. [[The Detroit Spinners]] were also signed to the Motown label and saw success with the Stevie Wonder-produced song "[[It's a Shame (The Spinners song)|It's a Shame]]" in 1970. They left soon after, on the advice of fellow [[Detroit]] native [[Aretha Franklin]], to [[Atlantic Records]], and there had disco songs like "[[The Rubberband Man]]" (1976). In 1979, they released a successful cover of Elton John's "[[Are You Ready for Love]]", as well as a medley of [[The Four Seasons (band)|the Four Seasons]]' song "[[Working My Way Back to You]]" and [[Michael Zager|Michael Zager's]] "Forgive Me, Girl". The Four Seasons themselves were briefly signed to Motown's MoWest label, a short-lived subsidiary for R&B and soul artists based on the West Coast, and there the group produced one album, ''[[Chameleon (The Four Seasons album)|Chameleon]]'' (1972) – to little commercial success in the US. However, one single, [[The Night (Frankie Valli and the Four Seasons song)|"The Night"]], was released in Britain in 1975, and thanks to popularity from the [[Northern Soul]] circuit, reached number seven on the [[UK Singles Chart]]. The Four Seasons left Motown in 1974 and went on to have a disco hit with their song "[[December, 1963 (Oh, What a Night)]]" (1975) for [[Warner Curb Records]].

====Euro disco====
{{Main|Euro disco}}
[[File:ABBA - TopPop 1974 5.png|thumb|left|upright=1.0|[[ABBA]] in 1974.]]
By far the most successful Euro disco act was [[ABBA]] (1972–1982). This Swedish quartet, which sang primarily in English, found success with singles such as "[[Waterloo (ABBA song)|Waterloo]]" (1974), "[[Take a Chance on Me]]" (1978), "[[Gimme! Gimme! Gimme! (A Man After Midnight)]]" (1979), "[[Super Trouper (song)|Super Trouper]]" (1980), and their signature smash hit "[[Dancing Queen]]" (1976).

[[File:Giorgio Moroder (cropped).jpg|thumb|right|upright=0.8|Italian composer [[Giorgio Moroder]] is known as the "Father of Disco".<ref>"This record was a collaboration between Philip Oakey, the big-voiced lead singer of the techno-pop band the Human League, and Giorgio Moroder, the Italian-born father of disco who spent the 1980s writing synth-based pop and film music." {{cite web|url= {{AllMusic|class=album|id=r59464|pure_url=yes}}|title=Philip Oakey & Giorgio Moroder: Overview |access-date=December 21, 2009 |website=[[AllMusic]] |first=Evan|last=Cater}}</ref>]]
[[File:Donna Summer 1977.JPG|thumb|right|upright=0.8|[[Donna Summer]] in 1977|alt=]]
In the 1970s, [[Munich|Munich, West Germany]], music producers [[Giorgio Moroder]] and [[Pete Bellotte]] made a decisive contribution to disco music with a string of hits for [[Donna Summer]], which became known as the "Munich Sound".<ref name="munichsound">{{cite book |editor1-first=Michael |editor1-last=Ahlers |editor2-first=Christoph |editor2-last=Jacke | first=Thomas| last= Krettenauer| year=2017 | title=Perspectives on German Popular Music |chapter=Hit Men: Giorgio Moroder, Frank Farian and the eurodisco sound of the 1970s/80s| publisher=[[Routledge]] | location= London| pages=77–78| isbn= 978-1-4724-7962-4}}</ref> In 1975, Summer suggested the lyric "[[Love to Love You Baby (song)|Love to Love You Baby]]" to Moroder and Bellotte, who turned the lyric into a full disco song. The final product, which contained the vocalizations of a series of simulated [[orgasm]]s, initially was not intended for release, but when Moroder played it in the clubs it caused a sensation and he released it. The song became an international hit, reaching the charts in many European countries and the US (No. 2). It has been described as the arrival of the expression of raw female sexual desire in pop music. A nearly 17-minute [[12-inch single]] was released. The 12" single became and remains a standard in discos today.<ref name="mixmag_moroder">{{cite web |first=Bill |last=Brewster |url=https://mixmag.net/feature/i-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it |title=I feel love: Donna Summer and Giorgio Moroder created the template for dance music as we know it |publisher=[[Mixmag]] |date=June 22, 2017 |access-date=January 9, 2019 |archive-date=June 22, 2017 |archive-url=https://web.archive.org/web/20170622124251/https://mixmag.net/feature/i-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it |url-status=live }}</ref><ref>{{cite web|url=http://www.theaustralian.com.au/news/world/donna-summer-was-the-queen-who-made-disco-work-on-the-radio/story-fnb64oi6-1226360052284|title=Subscribe – theaustralian|website=theaustralian.com.au|access-date=June 5, 2017|archive-url=https://web.archive.org/web/20120521034952/http://www.theaustralian.com.au/news/world/donna-summer-was-the-queen-who-made-disco-work-on-the-radio/story-fnb64oi6-1226360052284|archive-date=May 21, 2012|url-status=live|df=mdy-all}}</ref>

Donna Summer's "Love to Love You Baby" peaking on the ''Billboard'' charts at No.2 in 1976, is considered a feminist anthem and staple in the genre. Billboard recently ranked the song #1 on their list of "The 34 Top Disco Songs of All Time." Summer is featured at all top six spots on the list.<ref>{{cite magazine |url=https://www.billboard.com/lists/top-disco-songs-all-time/donna-summer-bad-girls/ |title=The 34 Top Disco Songs of All Time |magazine=Billboard |last=Moroder |first=Giorgio |date=January 6, 2022 |access-date=January 23, 2025}}</ref>

In 1976 Donna Summer's version of "[[Could It Be Magic]]" brought disco further into the mainstream. In 1977 Summer, Moroder and Bellotte further released "[[I Feel Love]]", as the B-side of "Can't We Just Sit Down (And Talk It Over)", which revolutionized dance music with its mostly [[Electronic music|electronic]] production and was a massive worldwide success, spawning the [[Hi-NRG]] subgenre.<ref name="mixmag_moroder" /> Giorgio Moroder was described by [[AllMusic]] as "one of the principal architects of the disco sound".<ref>[{{AllMusic|class=artist|id=p23915|pure_url=yes}} Giorgio Moroder] Allmusic.com</ref> Another successful disco music project by Moroder at that time was [[Munich Machine]] (1976–1980).

[[Boney M.]] (1974–1986) was a West German Euro disco group of four West Indian singers and dancers masterminded by record producer [[Frank Farian]]. Boney M. charted worldwide with such songs as "[[Daddy Cool (Boney M. song)|Daddy Cool]]" (1976) "[[Ma Baker]]" (1977) and "[[Rivers Of Babylon]]" (1978). Another successful West German Euro disco recording act was [[Silver Convention]] (1974–1979). The German group [[Kraftwerk]] also had an influence on Euro disco.

[[File:Dalida19673.jpg|thumb|left|upright=0.9|[[Dalida]] in 1967.]]
In France, [[Dalida]] released "[[J'attendrai]]" ("I Will Wait") in 1975, which also became successful in Canada, Europe, and Japan. [[Dalida]] successfully adjusted herself to disco and released at least a dozen of songs that charted in the top 10 in Europe. [[Claude François]], who re-invented himself as the "king of French disco", released "La plus belle chose du monde", a French version of the Bee Gees song "[[Massachusetts (Bee Gees song)|Massachusetts]]", which became successful in Canada and Europe and "Alexandrie Alexandra" was posthumously released on the day of his burial and became a worldwide success. [[Cerrone]]'s early songs, "Love in C Minor" (1976), "[[Supernature (Cerrone song)|Supernature]]" (1977), and "Give Me Love" (1978) were successful in the US and Europe. Another Euro disco act was the French diva [[Amanda Lear]], where Euro disco sound is most heard in "[[Enigma (Give a Bit of Mmh to Me)]]" (1978). French producer [[Alec R. Costandinos|Alec Costandinos]] assembled the Euro disco group [[Love & Kisses|Love and Kisses]] (1977–1982).

In Italy [[Raffaella Carrà]] was the most successful Euro disco act, alongside [[La Bionda]], [[Hermanas Goggi]] and [[Guido & Maurizio De Angelis|Oliver Onions]]. Her greatest international single was "Tanti Auguri" ("Best Wishes"), which has become a popular song with [[gay]] audiences. The song is also known under its Spanish title "Para hacer bien el amor hay que venir al sur" (which refers to Southern Europe, since the song was recorded and taped in Spain). The Estonian version of the song "Jätke võtmed väljapoole" was performed by [[Anne Veski]]. "[[A far l'amore comincia tu]]" ("To make love, your move first") was another success for her internationally, known in Spanish as "En el amor todo es empezar", in German as "Liebelei", in French as "Puisque tu l'aimes dis le lui", and in English as "Do It, Do It Again". It was her only entry to the [[UK Singles Chart]], reaching number 9, where she remains a [[one-hit wonder]].<ref name="British Hit Singles & Albums">{{cite book | first = David
| last = Roberts| year = 2006 | title = British Hit Singles & Albums | edition = 19th | publisher = Guinness World Records Limited | location = London | isbn = 1-904994-10-5 | page = 95}}</ref> In 1977, she recorded another successful single, "Fiesta" ("The Party" in English) originally in Spanish, but then recorded it in French and Italian after the song hit the charts. "A far l'amore comincia tu" has also been covered in Turkish by a Turkish popstar [[Ajda Pekkan]] as "Sakın Ha" in 1977.

Recently, Carrà has gained new attention for her appearance as the female dancing soloist in a 1974 TV performance of the [[Experimental music|experimental]] [[gibberish]] song "[[Prisencolinensinainciusol]]" (1973) by [[Adriano Celentano]].<ref>{{Cite news|url=https://www.npr.org/2012/11/04/164206468/its-gibberish-but-italian-pop-song-still-means-something|title=It's Gibberish, But Italian Pop Song Still Means Something|website=NPR.org|access-date=April 1, 2017|archive-url=https://web.archive.org/web/20170318092600/http://www.npr.org/2012/11/04/164206468/its-gibberish-but-italian-pop-song-still-means-something/|archive-date=March 18, 2017|url-status=live}}</ref> A remixed video featuring her dancing went [[viral video|viral]] on the internet in 2008.<ref>{{Cite web|url=https://www.youtube.com/playlist?list=PLEogw6w5d_jNGyUvjmdcDdJgqG40Wl-eN|title=Popular Videos – Prisencolinensinainciusol – YouTube|via=YouTube|language=en|access-date=April 1, 2017|archive-url=https://web.archive.org/web/20170410161344/https://www.youtube.com/playlist?list=PLEogw6w5d_jNGyUvjmdcDdJgqG40Wl-eN|archive-date=April 10, 2017|url-status=live}}</ref>{{citation needed|date=October 2016}} In 2008 a video of a performance of her only successful UK single, "Do It, Do It Again", was featured in the ''[[Doctor Who]]'' episode "[[Midnight (Doctor Who)|Midnight]]". Rafaella Carrà worked with [[Bob Sinclar]] on the new single "[[Far l'Amore]]" which was released on [[YouTube]] on March 17, 2011. The song charted in different European countries.<ref>{{Cite web|url=http://www.ultratop.be/fr/song/c8d07/Bob-Sinclar-&-Raffaella-Carra-Far-l'amore|title=Bob Sinclar & Raffaella Carrà – Far l'amore|website=ultratop.be|access-date=January 30, 2017|archive-url=https://web.archive.org/web/20170705005907/http://www.ultratop.be/fr/song/c8d07/Bob-Sinclar-%26-Raffaella-Carra-Far-l%27amore|archive-date=July 5, 2017|url-status=live}}</ref> Also prominent European disco acts are [[Spargo (band)]], [[Time Bandits (band)]] and [[Luv']] from the Netherlands.

Euro disco continued evolving within the broad mainstream pop music scene, even when disco's popularity sharply declined in the United States, abandoned by major U.S. record labels and producers.<ref>{{cite news|title=ARTS IN AMERICA; Here's to Disco, It Never Could Say Goodbye|url=https://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm|newspaper=New York Times|date=December 10, 2002|access-date=February 15, 2017|archive-url=https://web.archive.org/web/20161224103954/http://www.nytimes.com/2002/12/10/arts/arts-in-america-here-s-to-disco-it-never-could-say-goodbye.html?pagewanted=3&src=pm|archive-date=December 24, 2016|url-status=live}}</ref> Through the influence of [[Italo disco]], it also played a role in the evolution of early [[house music]] in the early 1980s and later forms of [[electronic dance music]], including early '90s [[Eurodance]].