Before "I Feel Love", most disco recordings were backed by acoustic orchestras. Although such mid 1970s bands as Kraftwerk had pioneered all-electronic music, it has been said that this song is the first disco-style song recorded with an entirely synthesized backing track, and has been enormously influential in the development of disco, electronica, house and techno thanks to Giorgio Moroder's innovative production. In particular, the song popularised the insistent, robotic bass line, which has been frequently imitated ever since.
According to David Bowie, then in the middle of his own groundbreaking 'Berlin Trilogy', its impact on the genre's direction was recognized early on:
“One day in Berlin ... Brian Eno came running in and said, 'I have heard the sound of the future.' … he puts on 'I Feel Love', by Donna Summer … He said, 'This is it, look no further. This single is going to change the sound of club music for the next fifteen years.' Which was more or less right. ”
The original album version of the song lasted almost six minutes. The song was extended for its release as a 12" maxi-single, the eight-minute version is included on the 1989 compilation The Dance Collection: A Compilation of Twelve Inch Singles . The song was only very slightly edited on the 7" format, with the fade-in opening sound reaching maximum volume quicker. A version which fades out at 3:45, before the third verse and the final choruses, has however been included on a large number of greatest hits packages and other compilations issued by PolyGram, Mercury Records, Universal Music and others, such as 1994's Endless Summer: Greatest Hits and 2003's The Journey: The Very Best of Donna Summer.
In 2004, Rolling Stone ranked "I Feel Love" #411 on their list of the 500 Greatest Songs of All Time. The review for the song stated that Moroder and Summer "claimed tomorrow in the name of disco."
Patrick Cowley's 12" remix which clocks in at 15:45 became a dance floor hit all over again - five years after its original release, and was also re-issued as an edited 7" single which reached #21 on the UK singles chart.
I Feel Love
Donna Summer Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's so good, it's so good
It's so good
Ooh, I'm in love, I'm in love
I'm in love, I'm in love
I'm in love
I feel love, I feel love
I feel love
I feel love
I feel love
Ooh, fallin' free, fallin' free
fallin' free, fallin' free
fallin' free
Ooh, you and me, you and me
You and me, you and me
You and me
Ooh, I feel love, I feel love
I feel love, I feel love
I feel love
I feel love
I feel love
I feel love
I feel love
Ooh, I get you, I get you
I get you, I get you
I get you
Ooh, what you do, what you do
What you do, what you do
What you do
Ooh, I feel love, I feel love
I feel love, I feel love
I feel love
I feel love
I feel love
I feel love
I feel love
Donna Summer’s “I Feel Love” is a five-minute electronic disco song that was released in 1977. The song is a celebration of the feeling of falling in love and the transformative power it can have on a person. The opening verse “Ooh, it’s so good, it’s so good, it’s so good, it’s so good” sets the tone for the song, as the repetitive lyrics and driving beat create an infectious energy that captures the euphoria of falling in love.
As the song progresses, Donna Summer sings “Ooh, I’m in love, I’m in love, I’m in love, I’m in love, I’m in love”, which emphasizes the intense emotions that come with falling head over heels for someone. The chorus, which consists solely of the phrase “I feel love”, imbues the song with a sense of universality – the feeling of love is something that anyone can relate to.
The line “Fallin’ free, fallin’ free” suggests a sense of liberation that comes from falling in love, as if the feelings themselves have unshackled the singer from something. The final verse “Ooh, I get you, I get you, I get you, ooh what you do, what you do, what you do” implies a sense of mutual understanding and connection between the singer and the person she’s fallen in love with.
Overall, “I Feel Love” is an upbeat, celebratory song that captures the exhilarating feeling of falling in love and the transformative power it can have on a person.
Line by Line Meaning
Ooh, it's so good, it's so good
The feeling being described is so satisfying and pleasing that it can't be put into words
Ooh, I'm in love, I'm in love
The singer is so enamored with someone or something that they can't contain their emotions
Ooh, I feel love, I feel love
The experience being described is one of deep connection and affection
I feel love
This phrase is repeated to emphasize the intensity and significance of the feeling being described
Ooh, fallin' free, fallin' free
The artist is letting go and allowing themselves to get caught up in the feeling of love
Ooh, you and me, you and me
The connection being felt is between two individuals, who share an intimate bond
Ooh, I get you, I get you
The singer has a deep understanding and appreciation for the object of their affection
Ooh, what you do, what you do
The artist is mesmerized by the actions of the person or thing they are in love with
Ooh, I feel love, I feel love
Repetition of this phrase reinforces the deep, intense feeling being described
I feel love
This statement is repeated multiple times to make it clear that the artist is not just imagining things - their love is real and tangible
Lyrics © Kanjian Music, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Donna Summer, Giorgio G. Moroder, Pete Bellotte
Lyrics Licensed & Provided by LyricFind
Andra Arija
Ooooo
@Plexpara
What a Masterpiece. As a German i am proud that Germans did the main Part of the Instrumental. Was made with the same Sequenzers that Tangerine Dream allready used for a Album.
@internetrambo4928
Das ist von Wiki:
Beeinflusst durch den Krautrock und die Berliner Schule wollte Moroder für I Remember Yesterday ein zukunftsweisendes Stück produzieren.[17] Der Gebrauch des Sequenzers war bereits durch Tangerine Dream auf den Alben Phaedra (1974) und insbesondere Rubycon (1975) etabliert worden.[18]
I Feel Love basiert im Wesentlichen auf einer Basslinie, die von Robert Wedel (Popol Vuh) programmiert wurde.[3] Wedel, seines Zeichens Toningenieur, Programmierer und Assistent von Eberhard Schoener, hatte dieselbe Sequenzertechnik für das ebenfalls 1977 veröffentlichte Album From Here to Eternity von Giorgio Moroder angewandt. Da Moroder über keine entsprechende Technik verfügte, war er auf den Synthesizer Moog 3p angewiesen, den Schoener 1969 nach Deutschland brachte.[19] In einem Interview mit dem Deutschen Museum äußerte Schoener, dass er hierzu in die USA gereist war, um Bob Moog in seiner Werkstatt in Trumansburg, New York, zu treffen. Moog hatte jedoch seinerzeit kein fertiges Gerät vorrätig und verkaufte Schoener stattdessen den Moog 3p der Beatles, den diese gerade zurückgeschickt hatten, weil John Lennon die neuartige Technik als „zu kompliziert“ erschien. In I Feel Love ist folglich derselbe Moog 3p zu hören wie auf dem Beatles-Album Abbey Road. Dieser steht heute im Deutschen Museum in München.[20] Moroder gab später an, vom Moog 3p keine Ahnung gehabt zu haben. Selbst wenn er diesen besäße, „hätte er dem Gerät keinen Ton entlocken können.“ Hierfür engagierte er Wedel.[3]
Eberhard Schoener legte dar, gemeinsam mit Wedel die Art des Sequenzereinsatzes erfunden und erstmals auf dem 1977er Krautrock-Album Trance-formation verwendet zu haben. Schoener selbst nannte die Technik das „Black-&-Decker-Prinzip“.
„Wir nannten es so nach der Werbung, in der der Firmenname in einem rasend schnellen, abgehackten Rhythmus ausgesprochen wurde. Beim Moog-Synthesizer war ein Sequenzer dabei. Dieser Sequenzer erlaubte es, ganz bestimmte Tonfolgen zu wiederholen und so den Black-&-Decker-Effekt hervorzurufen. Es waren viele Versuche nötig, bis die Computerklänge dieses Rattern erzeugten. Wir wurden für den Deutschen Schallplattenpreis nominiert, da das Black-&-Decker-Prinzip etwas völlig Neues war.“
@joezava8257
The German component is related to some German family roots of the Italian Giorgio Moroder and the place where his Music L. studio is located (Munich / Early 70's) where Moroder practically forged his primary electronic base E. Munich starting from the classic lines of Electronic Music (E Post Concreta, E. Moog, E. Experimental and E. Soundtrack / Ambient Sci-Fi) which are directly developed and forged by the group of producers and developers who are pillars and pioneers of Electronic Music (second wave / late 50's and the 60's Post Schaeffer / France) said group of producers and developers are made up of different countries, Moroder starts from the heritage of these classic lines of Electronica, not from Krautrock Düsseldorf from Kraftwerk nor from E. Berlin from Tangerine Dreams which It also departs and adopts the classic lines of electronic music (E. Post Concreta, E. Moog, E. Experimental and E. Soundtrack) that allowed this German group to gradually separate itself from German Progressive Rock & Krautrock. Moroder and Tangerine Dreams They start from the bases and matrices of classical Electronic Music and that is why the familiarity of the electronic lines of the group of producers and top developers of electronic music from the 70's: Moroder, Jarre, Lacksman, YMO, Tangerine Dreams, Schulze, Vangelis, Faltermeyer, Tonet, Gizzi, Pinhas, Martín W. & Ian C...(just to name a few).
@internetrambo4928
@@joezava8257 Das ist von Wiki:
Beeinflusst durch den Krautrock und die Berliner Schule wollte Moroder für I Remember Yesterday ein zukunftsweisendes Stück produzieren.[17] Der Gebrauch des Sequenzers war bereits durch Tangerine Dream auf den Alben Phaedra (1974) und insbesondere Rubycon (1975) etabliert worden.[18]
I Feel Love basiert im Wesentlichen auf einer Basslinie, die von Robert Wedel (Popol Vuh) programmiert wurde.[3] Wedel, seines Zeichens Toningenieur, Programmierer und Assistent von Eberhard Schoener, hatte dieselbe Sequenzertechnik für das ebenfalls 1977 veröffentlichte Album From Here to Eternity von Giorgio Moroder angewandt. Da Moroder über keine entsprechende Technik verfügte, war er auf den Synthesizer Moog 3p angewiesen, den Schoener 1969 nach Deutschland brachte.[19] In einem Interview mit dem Deutschen Museum äußerte Schoener, dass er hierzu in die USA gereist war, um Bob Moog in seiner Werkstatt in Trumansburg, New York, zu treffen. Moog hatte jedoch seinerzeit kein fertiges Gerät vorrätig und verkaufte Schoener stattdessen den Moog 3p der Beatles, den diese gerade zurückgeschickt hatten, weil John Lennon die neuartige Technik als „zu kompliziert“ erschien. In I Feel Love ist folglich derselbe Moog 3p zu hören wie auf dem Beatles-Album Abbey Road. Dieser steht heute im Deutschen Museum in München.[20] Moroder gab später an, vom Moog 3p keine Ahnung gehabt zu haben. Selbst wenn er diesen besäße, „hätte er dem Gerät keinen Ton entlocken können.“ Hierfür engagierte er Wedel.[3]
Eberhard Schoener legte dar, gemeinsam mit Wedel die Art des Sequenzereinsatzes erfunden und erstmals auf dem 1977er Krautrock-Album Trance-formation verwendet zu haben. Schoener selbst nannte die Technik das „Black-&-Decker-Prinzip“.
„Wir nannten es so nach der Werbung, in der der Firmenname in einem rasend schnellen, abgehackten Rhythmus ausgesprochen wurde. Beim Moog-Synthesizer war ein Sequenzer dabei. Dieser Sequenzer erlaubte es, ganz bestimmte Tonfolgen zu wiederholen und so den Black-&-Decker-Effekt hervorzurufen. Es waren viele Versuche nötig, bis die Computerklänge dieses Rattern erzeugten. Wir wurden für den Deutschen Schallplattenpreis nominiert, da das Black-&-Decker-Prinzip etwas völlig Neues war.“
@simenkunicekream
Give us back good don’t die. It made me discover your music as well. And I think it’s therapeutic for people having it difficult.
@Lestea-Renthlei
Man how my favourite from the album got removed hurt soo bad
@HYPEDEEV77
I agree
@luciaarceflores4537
I Feel Love is known throughout the civilized world and has an important crown, prestige and relevance within the history, development and evolution of electronic music... Giorgio Moroder's works do not need the impulse of a nobody like Kanye West and a normal sub like you who follow him
@stevenstevens6149
@@luciaarceflores4537 brother you all over this comment section. We just want the song back on the album lol. It’s no disrespect to Donna Summer at all, she’s a legend!