Risque

The disco backlash was uniquely American. In Europe, people didn't torch their copies of Saturday Night Fever, but instead used disco as fertiliser for a crop of pioneering genres, from post-punk to Italo. Now, as much as commentators, with reason, point to prejudices against disco's black and gay subcultures as fuelling the backlash, it's not as if Europe lacked for such bigotries. What I say has been looked over is American exoticism as seen with the European gaze: what passes for everyday to Americans may either baffle or fascinate we Europeans. Many Americans damned disco as brainless, but many Europeans saw fierce innovation in these calls to dance. Yes, there were plenty of UK critics dismissing disco, and yes, some Americans did similar to Europe in devising new music inspired by disco, such as Chicago house, but they do not disprove the general trend of this specific American exceptionalism. And just remember: Nile Rodgers has not only had the last laugh, but he hasn't stopped laughing since 1983. Anyway, onto Risqué. One fault of Risqué is one of its great strengths: the opener, Good Times. Good Times, for several reasons, has rightfully become one of the most iconic 70s tracks (and here I'll mention its perhaps even more momentous half-sibling Rapper's Delight). The majesty of Good Times lies, of course, in Bernard Edwards' serpentine bassline, not that Nile Rodgers' guitar isn't fully up to snuff. But when you start an album with such a totem, the rest risks sounding diminished by default. To test this, I just tried listening to the album except for Good Times, and the magic of the other songs burst out. I had originally considered the strings on the rest of the album to sound too syrupy for the modern eardrum, but played independently, they sounded so warm and silky. Also, the latter half of the album revolves around themes of heartache, illicit love and betrayal, marking this out as substantially darker and richer than the fluff the name "disco" implies to some. So do we have the paradoxical result of the whole being less than the sum of its parts? Or one skyscraper of a song stealing all the other songs' sunlight? Or is it that Good Times is immediate in bestowing its rewards, whereas the other songs require more contemplation? Not the first, but I can agree to ther last two. The sheer quality of the songwriting, performances and production push this into the 5-star category, but the listener should heed the caveat that the best is the enemy of the good, and the best is Good Times.

Disco is not dead so long as it lives in the hearts of men!

I think more people would like disco than care to admit. The bassline in Good Times is worthy of 5 stars alone, really like that it was sampled and squires a lot of later tracks.

The problem with Disco records is that all the songs are unnecessarily long with nothing to really hold them up for that extended length. Seriously, once you've heard the first 8-minute-long track off of this album, just stop listening, as the rest of the album is the same thing over and over.

Did you know that "Good Times" is over 8 minutes long? I sure didn't before today. Let me tell you, that's about 6 minutes longer than it needs to be. And, as annoying as that song is, it's the best part of this whole record. Disco is just the worst.

Good Times + a lot of filler.

Man, this is a hard one to pin down. Musically, this band is so tight and so clean. Disco gets such a bad rap, and I'd hesitate to limit this band to disco, but this is the prototype for funky dance/disco music. [The Outkast references are inadvertent but appropriate.] Tony Thompson (who you'll also recognize from Power Station and Bowie's "Let's Dance" album) on drums is a massive time keeper/groove provider, Nile Rodgers knows how to play funky guitar better than just about anyone, and the rest of the musicians all play their parts to perfection. Yes, the tunes roll on and on, but that's the point. I'll take humans killing a dance beat over techo every single time. Then... there's the vocals. Well, I should say, lyrics, because the vocals are totally right on and immediately identifiable (I didn't love the vocal melody on "Will You Cry," but the rest are perfect for the music). But the lyrics seem like an afterthought, and it holds this record back. Yes, it was a different era, so I'll even overlook some of the misogyny, but even on the biggest hit, "Good Times," the lyrics are trying to bring the song down. ("Don't be a drag, participate; Clams on the half shell, and roller skates, roller skates.") At the very least, it seems they were happy to settle on the first rhyme they came up with. So, for me, it was a tug between being super impressed with the music and wondering why they didn't work harder on the lyrics. Clearly, they did fine for themselves, and it works for the dance floor, because you know the lyric the second time it comes around and you're locked in, but IMO, a little more variety and a little more attention to quality lyrics would have made this a five. As it stands... I'm at like a 3.5... it's Christmas, so this gets the Santa bump.

I cringed when the first song started. The dreaded disco that I hated with passion and now I have to listen to it. I always thought there was a special place in hell reserved for the bands that played this. But wait! I'm starting to like the first song. This can't be. Am I going to hell too? Fortunately, after half liking the first song I truly hated the rest. No postmortal global warming for me

Absolute banger. Such an important sound at the peak of the disco resurgence and an amazing showcase for Nile Rodgers as an arranger and guitar player. Bernard Edwards' bass is deep and grooving throughout — and from the drop on "Good Times" you immediately hear again all the places it went: Daft Punk's "Around The World," Sugarhill Gang's "Rapper's Delight," and inspiring Queen's John Deacon on "Another One Bites The Dust." The songwriting takes you all sorts of places as you hear who grew up listening to them - the chord progressions and harmony got deposited in dance artists of all stripes, again including Stardust and Daft Punk, even before they famously collaborated with Nile on Random Access Memories, as well as the grooves and whispers of "A Warm Summer Night" pointing ahead to Khruangbin ("Como Me Quieres"), whose guitarist Mark Speer also sports a trademark Strat.

This album is awesome! Nile Rodgers is a chuckin beast on guitar!

This is more joy than it seems appropriate to enjoy right now

Bernie. Edwards. Makes it a 5.

Oh man, funk and groove galore, I loved this album.

I can’t be the only one who thought this was Led Zeppelin’s “In Through the Out Door” for a split second when it got generated, right? It’s a good thing it wasn’t. This record’s way better.

I put this on loud and next thing I knew I was instantly transported to a 1980s Long Island wedding. There were all the trappings of a luxury ceremony, including clams on the half-shell AND roller skates. Unfortunately I got a venereal disease from one of the bridesmaids and someone stole my wallet when I passed out in the toilet.

The Good Times bassline has real estate in my brain. I love CHIC. Powerful disco grooves. Forbidden Lover is a new favorite of mine.

Why am I only now checking this out? These people manage to do more invention in 35 minutes than most do in a career. This is the First record on here that I wish was longer. Great musicianship, production that’s almost unheard of and a concise package that never falters from being a danceable call to action for enjoying life.

Some of the best (and funkiest) pop music ever made.

Deserves to be on the list simply for putting down a groove that "inspired" both Rappers Delight and Another One Bites the Dust. All that said, the ballads here are equally impressive. The Edwards/Rogers team was humming at top gear throughout and writing, playing and producing at an extraordinarily high level.

Each song was as funky as the one before. Greatly recommend this song to anyone who is into funk and/or disco

‘Good Times’ with its bassline that gave birth to hip-hop on wax dominates, but ‘Risqué’ is much more than that. Underneath its lush, upbeat, shiny veneer is an album tinged with loss, sadness and despair, layers of sarcasm and cynicism; an album that finds catharsis (or oblivion) through the dancefloor, ultimately transcending its genre and becoming something bigger and deeper than just a mere disco album.

Now this I can listen for eternity

starts off especially strong with Good Times, although i think it overstays it's welcome by a couple of minutes. while each song was extremely groovy it suffers from being quite repetitive. The runtime is quite short though which keeps the good times rolling without bearing too hard on the listener. 3.5 to a 4/5

Some really great tracks here, but the whole album doesn’t have that consistent feel one gets from a great disco record

Pretty one note and repeatitive

Pretty repetitive

I liked their sound but the songs were too long and repetitive within each song. I didn't dislike the music, but wasn't especially impressed by anything

I enjoyed about 3 minutes of good times but after that, there wasn't really much worth listening to.

Thought it was okay but everything sounds the same. Some of the tracks are way too long.

I reviewed the other Chic album and gave it a good mark but why are there two albums that are basically the same? Good times is the best song with Forbidden lover following closely on and the hits but the others are either identical beat with one line repeated for 4 minutes or laid back lovers soul. It's like the 1001 executives rigidly have to fill each genre with the required 20 albums regardless of quality.

9/10 yeah, I really like Chic — these folks write hella good music

A classic Disco record. I don't know if I'd say it is a strong 5 due to bloat (drugs be crazy), but I think it has such staying power, that it at least deserves that 5 position.

I absolutely love Nile Rodgers and have been inspired by him in my own guitar playing. I also absolutely love disco music, but I'd never actually listened to this album in full. It's hard to judge since it opens with one of the most influential songs ever written. Good Times is such a fucking amazing song and influenced an entire genre of music and it opens the album. Everything after that is going to pale in comparison. It's still really good music, but damn is it hard to follow Good Times.

Nile Rodgers rules. And the album would get a 5/5 for ‘Good Times’ alone. But the fact that so many great songs came from it, like Rapper’s Delight and Rapture makes me want to give it a 6.

This album is great. I was nervous when I saw that the first few songs were quite long, but I was grooving and vibing to all the songs. There's some great funk and got me moving in my seat. Really enjoyable album to listen to. Favorite song: Will You Cry (When You Hear This Song) Worst song: N/A

Great grooves and hooks. Totally a unique sound with the group vocals and strings. Bernard Edwards basslines are super iconic. I like the long instrumental sections of just groove in Goodtimes. The tap dancing section in My Feet Feel like Dancing is cool. Can’t Stand to Love You is so great, probably my favorite song-I wish it were longer!

Iconique

Good Times. Leave your cares behind. Those two lines say it all.

It is hard to give any album that starts with a full 8-minute version of Good Times anything less than 5 stars. The opener and the other two singles, which are also great, form half of the album. Hence, it follows that \[(4+5)/2=4.5 + \mbox{the perfect sound} = 5 *.\]

Loved this

Short album of absolute bangers

Great vibes

Bloody love Chic (and Nile Rodgers). Forbidden Lover and my feet keep dancing are up there with my favourites of theirs. 5/5

Bängeri Skön funk

Nile and co will always get my vote

Nile Rogers is nothing short of incredible.

I oftentimes listen to an album, think it’s really good, and resolve to explore more music from the artist. Unfortunately I often forget to, and just move on with my listening (sorry Arcade Fire!). It’s nice to get another CHIC album so soon after I rated the first, and it was truly a delight to get this one when I opened the website and rated my previous album. I love disco. I really don’t understand why it was so hated. This album wasn’t that different than the first, and if I decided to move one up to a five (which I honestly may), I would go with C’est Chic. However this one is still super solid, and had a few absolute banger tracks. I feel like when my biggest criticism of an album is “too short”, it’s probably a good album. I hope they have a third album on the list! Favorite Track: My Feet Keep Dancing

Rodgers and Edwards are geniuses and the album is just exquisitely well done. The instrumentation is just heavenly. The guitar playing by Rodgers is perfect for the vibe, and the bass lines are so good, Edwards was a truly amazing bass player. The singing is also just right. And the strings parts are well written and bring the tracks together. In terms of favourites, the album just starts so strong: "Good Times" is an amazing dance tune, and it's immediately followed by "A Warm Summer Night", which is just a beautiful composition. “What About Me” is also great, just super vibes. This is probably some of the best disco has to offer, and it's pretty damn good. The record can be a touch repetitive at times (maybe that’s just part of how Disco goes), and doesn’t quite match strength of its opening, but it’s nevertheless a great and cohesive record.

I have mixed feelings about this record. Nile Rodgers is a beast, he has some serious chops. There are some killer bass lines throughout. It’s a good feel record. However, I did feel it was a little too samey, but that’s Disco I guess. And since when was “Good Times” more than 8 minutes long? Some of the songs are excessively and unnecessarily long, which is definitely too much for “Good Times” as it’s over played, particularly at 60 year old’s birthday parties. With all that said, the album is cool. Plenty of goodness. I can’t give it a full 4, but a 3 is way too harsh, so… 4 it is.

Sometimes a record will take a test that it compels me to invent as I listen to it, like here, when during the breakdown in “My Feet Keep Dancing” I realised that CHIC were near guaranteed to present more than three moments on this record at least as great as the stuff I’m already familiar with, which is only “Good Times”. Unusually, the verse-chorus-verse parts are just the mise-en-scene - it’s the interstitial bass sprints and the sudden, odd grooves that this excels and revels in.

Good Disco album can hear where the samples have been taken for other tracks

smoooooove bass on this album, man

Törkysen kova. Levy miltä löytyy oma top5 bassoriffi. Say. No. More.

High quality disco, obv., but not as much going on as for C'est Chic, and for too long. The eternal "Good Times" qualifies this for the rating; RIP Alfa Anderson

This is above average background music for your cocaine party

Ok! Party time! A category is emerging during this project. Something like the "these folks are trailblazers, I respect this album, but I'm not adding anything to my Spotify library" category. Would definitely consider adding some of these to a wedding playlist though. 2.5 for respect

Good disco listening album. Probably wouldn't put this on whenever, but if the mood was right.

Possibly the most sampled album in history? I had no idea that De la Soul lifted the Roller Skating Jam line from here. The bass is the star throughout the album. Bernard Edwards' playing is sublime and tight. I wasn't expecting the ballads. This leads to the album drifting slightly in the middle. I'd forgotten how fantastic My Forbidden Lover is.

Good times is a great song but that bass player slaps funky shit throughout the whole album. 3.49 stars

This album works best when it focuses on the uptempo, guitar-driven tracks, but even the slower songs have their place here. It's clear this is an LP to dance to - the track lengths and structures are undeniable in their rhythm and catchiness. Fun to see the building blocks of early House (four on the floor beats, synth-like piano lines, and tight, compressed guitar looped) permeate this album and remember where the samples originally came from.

I’m guessing they had a lot of faith in Good Times being a big hit because leading off an album with an almost 9 minute song is insane if your name isn’t Pink Floyd.

Not for intensive listening, meant for clubs etc.

Disco funk!

Om jag lämnar hjärnan därhän är det en av världens bästa skivor. Kopplar jag in de grå är det ändå en topp tjugo. Jag vet inte om jag behöver bryta ner det mer än så egentligen. Men det säger nåt om hur geniala Nile och Bernard var tillsammans när dom var som bäst. Chic är inte disco per se, Chic är Chic, ingen annan disco låter som Chic och i synnerhet inte som på Risque. Risque är facit på hur man gör sofistikerad musik utan att den blir det minsta svårtillgänglig, osvängig eller överproducerad. Det är lätt att fastna i dom stora dansgolvsrökarna, och med all rätt för dom är fantastiska. Men bredda perspektivet lite, lyssna på stråk-arret i "Will you cry.. ", det jazziga pianot i "Cant stand to love you" eller den filmiska närmast baleariska känslan i "Warm summer's night". Ingen annan disco innehåller det, knappt nån annan musik heller. Det är därför Nile pratar om "Chic music", det som Miles Davis ville att Nile och Bernard skulle skriva till honom. The Clash lyssnade sönder Risque med hakan nere vid knävecken när dom var i USA 1979/80, dom kunde inte fatta hur man kunde få musik att låta så. För man kan också prata en hel del om produktionen. Varför det bara är sju spår på albumet t.ex. kommer sig av att dom ville ha breda spår i vinylen för att få fram dynamiken. Nile och Bernard är producenter i första hand, låtskrivare i andra, musiker i tredje och sen kanske artister. Att alltihop refereras till som the Chic organization är ganska talande. Då har jag inte ens nänmt Bernards basspel som är överjordiskt rakt igenom hela plattan. Favoritlåt efter denna genomlyssning. "What about me" Hysénklass

its cool and funky and fun as hell. The bassline in Good Times has stuck with me long after I stopped listening, even just the guitar work is fantastic. I dont understand why disco got so much hatred if this is what you got to listen to.

Hell yeah man! Makes me want to dance in a club in the 80’s and do bumps of coke in the bathroom off a bankers dick. Nile Rodger’s guitar playing is iconic and these songs are timeless. The first song says it best “These are the good times”

it fucking rocks, we all know it, we all love Nile Rodgers, we've all heard the bass line from Good Times a million times in various forms and we're not sick of it because it's probably the best bass line of all time (my personal favorite reuse is the sample in The Adventures of Grandmaster Flash on the Wheels of Steel and my least favorite is naturally Queen's rip off of it in the world's most annoying song, Another One Bites the Dust, where they decided to take on the challenge of butchering such a beautiful sound (yeah i know it's unreasonable for me to take swipes at Queen in a Chic review but I'd like to see you stop me))

### In-Depth Review: *Risqué* by CHIC (1979) Released at the tail end of disco's commercial reign, *Risqué* is CHIC’s third studio album and arguably their most refined and thematically layered work. Produced by the powerhouse duo **Nile Rodgers** and **Bernard Edwards**, the album is a masterclass in groove-based sophistication, combining lush orchestration, tight musicianship, and subtly subversive lyricism. While “Good Times” dominates its legacy, *Risqué* is far more than a singles album—it’s a cohesive, emotionally nuanced statement that helped shape the future of dance, hip-hop, and pop music. --- ## 🎶 **Music & Production** Musically, *Risqué* is a tour de force of **funk-disco fusion**, with jazz-influenced chord progressions and orchestral flourishes that elevate it above standard disco fare. The rhythm section—Edwards’ iconic basslines, Rodgers’ percussive “chucking” guitar style, and Tony Thompson’s crisp drumming—forms the backbone of the album. The use of **live strings and brass**, arranged by Gene Orloff, adds a cinematic depth without overwhelming the groove. Tracks like “My Feet Keep Dancing” and “My Forbidden Lover” showcase complex arrangements and syncopated rhythms that feel both organic and meticulously crafted. The production is **clean, warm, and spacious**, allowing each element to breathe—an approach that was forward-thinking for 1979 and still feels fresh today. --- ## 🖋️ **Lyrics & Themes** Beneath the glossy surface, *Risqué* explores **themes of emotional detachment, forbidden love, betrayal, and existential anxiety**. The lyrics often juxtapose upbeat music with darker emotional undertones, creating a sense of **ironic detachment** that’s central to CHIC’s aesthetic. - **“Good Times”** is the most famous example: a seemingly celebratory anthem that subtly hints at economic despair and escapism. Lines like *“You silly fool, you can’t change your fate”* undercut the song’s optimism with a wink of cynicism. - **“My Forbidden Lover”** deals with taboo desire, using minimalistic, almost haiku-like lyrics to evoke tension and longing. - **“Will You Cry (When You Hear This Song)”** is a heartbreak ballad that closes the album with emotional vulnerability, contrasting the emotional restraint of the earlier tracks. - **“A Warm Summer Night”** is a lush, melancholic piece about unfulfilled longing, with sparse lyrics that leave space for interpretation. This lyrical subtlety is part of what makes *Risqué* so enduring—it invites repeated listens and rewards close attention. --- ## 🌐 **Influence & Legacy** The album’s influence is **monumental**: - “Good Times” provided the **bassline for “Rapper’s Delight”**, effectively birthing commercial hip-hop. - The groove also inspired **Queen’s “Another One Bites the Dust”**, and has been **sampled hundreds of times** across genres. - Artists like **Daft Punk, Madonna, David Bowie**, and **The Weeknd** have cited CHIC as a major influence, particularly in their ability to blend emotional depth with danceable music. - *Risqué* helped **legitimize disco as an art form**, pushing back against the “disco sucks” narrative that was often rooted in racism and homophobia. --- ## ✅ **Pros** - **Exceptional musicianship**: Edwards, Rodgers, and Thompson are locked in throughout. - **Innovative production**: Layered, live instrumentation with orchestral elements. - **Thematic depth**: Emotional complexity beneath a danceable surface. - **Cultural impact**: Helped shape hip-hop, house, and pop music. - **Timeless appeal**: Still sounds fresh and influential over 40 years later. --- ## ❌ **Cons** - **Repetitiveness**: Some tracks rely heavily on groove and repetition, which may not appeal to listeners seeking melodic variety. - **Vocal subtlety**: The restrained vocals, while stylistically fitting, may feel emotionally distant to some. - **Pacing**: The album is short (just 7 tracks), and the sequencing can feel front-loaded due to the dominance of “Good Times.” - **Genre stigma**: Disco’s historical baggage may lead some to undervalue the album’s artistic merit. --- ## 🏁 **Final Verdict** *Risqué* is not just a disco album—it’s a **conceptual, sonic, and emotional journey** that transcends its genre. It’s a snapshot of late-’70s glamour and anxiety, wrapped in some of the most infectious and sophisticated grooves ever recorded. Whether you're into funk, disco, pop, or hip-hop, this album is **essential listening**—a masterstroke of production, songwriting, and subtext that continues to influence generations of artists.

Funky R&B perfection.

This album is silk over steel. It’s glitter, discipline, and danger — the sound of the disco era realizing it’s too good-looking to last. Nile Rodgers and Bernard Edwards built something so precise it feels effortless; every bassline walks smoother than most people think. It’s luxurious, but haunted. You can hear the walls closing in on the dance floor — the lights are still flashing, but everyone knows the party’s ending.Glamour on the edge of collapse; the groove never dies, it just starts sweating. Rating: 4.9/5 Favorite Track: “Good Times” — ironically titled, considering it became the national anthem for denial.

!!!!TOP!!!!

"Risqué" is the third studio album by American disco band Chic. Disco, soul and funk are the Wiki-listed genres. Yeah man. The album is cited as defining the disco era and being highly influential in the disco movement overall as well as in hip hop, art rock and new wave. The album songs were written and also produced by bandmembers Nile Rodgers (guitar, vocals) and Bernard Edwards (bass, vocals). Other core bandmembers included Tony Thompson (drums), Alfa Anderson (vocals) and Luci Martin (vocals). There was a host of other contributing vocalists and musicians. Commercially, the album reached #5 in the US and #29 in the UK and, critically, it had wide-spread acclaim. The album kicks off with the first single "Good Times." Piano, the guitar and funky bass riffs, underlying strings, handclaps and, of course, the disco dance beat. Co-lead singers Luci Martin and Alfa Anderson. Obviously, a great groove which really extends in this 8-minute album version. There are both bass and guitar solos. The lyrics reference the Great Era-Milton Anger song "Happy Days Are Here Again" and are used as a hidden way to comment on the then economic conditions in the US. Edwards joins Martin and Anderson on lead vocals in "My Feet Keep Dancing." Strings are added to the base Chic group. More smooth R&B in a pop song. A lyrically lighter song and tap dancing is at the end. The second single "My Forbidden Love" gets the dance back going. Stronger, louder female vocals. A passionate desire for someone where it's an impossible for a relationship to exist. This album is anchored in rock-solid production (strings, keyboards, horns, piano) with the band's core of great guitar, bass and drums...that classic Chic sound Yeah, there's the disco dance beat but there are also soulful ballads, R&B, just plain pop, rock and jazz influences and even a P-Funk influenced song. I liked the album versions of the singles; the band really jams out. Besides maybe two songs, there's a darker edge to the lyrics: forbidden love, unrequited love, losing someone and pain. This is a classic sound and a great album. It's easy to hear its influence.

Stone cold classic. So much electronic and hip hop was inspired by and sampled from this ONE album.

This is some of the funkiest, tightest musicianship I've ever heard, and they stay locked in with the same groove for minutes on end so that the people can keep dancing. Nile Rodgers and Bernard Edwards are the greats that several generations and genres studied in the decades following, and it's no wonder: this record is a production masterpiece. I can imagine this would be a perfect set for disco night and am very glad I was introduced to it. 4/5 + 1 more bonus point for inspiring the birth of both House music and commercial rap. PS. I learned that "disco sucks" was more about racism and homophobia than it was about music.

Some upbeat songs, some slower songs, exactly my taste

Top top top : )))

Nostalgic disco vibe

Very catchy and fun! Another excellent album. Perfect for a hungover Sunday.

I don't hate disco.

Wimpy boy at the renaissance fair-core

Amazing sound

Just a sensational listen truthfully. Not perfect, but then again, is any album truly perfect? 5/5

Nile Rodgers is the man, and Chic totally holds up.

It's very rare for an album to have such great musicianship, performances, and melodies all packaged together with perfect production values. 5.0/5.0: Iconic

Отличный, приятный альбом

What a fantastic album. Nile Rodger’s guitar and Bernard Edwards’ bass playing is divine - and the orchestration! It’s incredibly lush and funky. The singing too is fantastic, and given that this essentially paved the road for hip hop, this deserves 5 stars.

There are three things I love in this life: 1) Nile Rogers 2) disco 3) songs that are twice as long as they probably need to be

Good music. Fun.

Loved it. Never heard the full album before. High standard deep cut disco is always good by me. Brilliant guitar and bass, solid tunes. Will go into regular rotation.

Gorgeous disco album

Amazing timeless album!

A Warm Summer Night is perfect for just that. Feels lovely. Great album. Short but very sweet

Classic and will likely always be so-5 stars

GOOD TIMES 🕺 THESE ARE THE GOOD TIMES 🕺 LEAVE YOUR CARES BEHIND 🕺

"Risque" by CHIC is undeniably one of the greatest albums of the Disco era, capturing the vibrant essence of the late 1970s with its infectious grooves and sophisticated production. The album not only solidified CHIC's status as pioneers of Disco but also left a lasting impact on various genres, influencing artists across funk, pop, and even hip-hop. Its timeless tracks, characterized by slick instrumentation and heartfelt lyrics, continue to inspire musicians today, showcasing the enduring legacy of Disco music in the evolution of contemporary sound.

I rate good times a 5 star because I've listened to this song many times and I liked it ⭐⭐⭐⭐⭐. I rate A warm summer night a 5 star because I've listened to this song many times and I liked it ⭐⭐⭐⭐⭐. I rate cant stand to love you a 5 star because I've listened to this song many times and I liked it ⭐⭐⭐⭐⭐.

How can one man go so hard on the bass this much that it didn't rip a hole in the space-time continuum? Roger's guitar scratches the unscratchable itch. The vocals are liquid satin and glitter. Undeniable classic from beginning to end.

Hell yeah, I loved this almost as much as C'est Chic. More tap dance solos, please!

Bij bierkeuringen wordt er niet eens zozeer op de kwaliteit gelet, maar vooral of de bieren binnen het hokje van de stijl passen... En hier hebben we een plaat die volledig binnen de lijntjes kleurt van de disco. Funkritme, samenzang, de blikken met violen die worden opengetrokken, bierstijlgoeroe Derek Walsh zou hiervan gaan knorren van plezier. Maar ook los van de stijlhokjes wordt hier een lekker potje muziek gemaakt die de oortjes binnenglijdt als honing, en daar ging het tenslotte om.

Such incredible bass lines...