Apparaît dans
Titres les plus populaires de Daft Punk
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Crédits
INTERPRÉTATION
Giorgio Moroder
Chant
Chris Caswell
Claviers
Nathan East
Basse
James Genus
Basse
John "J.R." Robinson
Batterie
Omar Hakim
Batterie
Alma Fernandez
Alto
Andrew Picken
Alto
Andy Martin
Trombone
Armen Ksajikian
Violoncelle
Assa Drori
Premier violon
Audrey Solomon
Violon
Bob McChesney
Trombone
Brian Kilgore
Percussion
Calabria McChesney
Violon
Carolyn Riley
Alto
Carrie Kennedy
Violon
Charles Loper
Trombone
Charlie Morillas
Trombone
Christina Soule
Violoncelle
Chuck Berghofer
Contrebasse
Chuck Findley
Trompette
Craig Gosnell
Trombone basse
Cynthia Moussas
Violon
Danielle Ondarza
Cor d’harmonie
David Kossoff
Cor anglais
Donald V. Ferrone
Contrebasse
Doug Walter
Direction d’orchestre
Drew Dembowski
Contrebasse
Earl Dumler
Hautbois
Gary Grant
Trompette
Gene Cipriano
Clarinette
Greg Huckins
Flûte
Greg Leisz
Pedal steel guitar
Guy-Manuel de Homem-Christo
Synthétiseur
Harry Shirinian
Alto
Irina Voloshina
Violon
Jim Atkinson
Cor d’harmonie
Jody Rubin
Alto
Joel Pargman
Violon
Johana Krejci
Violon
Judith Farmer
Basson
Justin Hageman
Cor d’harmonie
Kevin Connolly
Violon
Larry McGuire
Trompette
Lisa Dondlinger
Violon
Lisa Sutton
Violon
Margaret Wooten
Violon
Mark Converse
Percussion
Marty Krystall
Clarinette
Mary Sloan
Violon
Miwako Watanabe
Violon
Nathan Campbell
Cor d’harmonie
Neel Hammond
Violon
Nina Evtuhov
Violon
Olivia Tsui
Violon
Paula Hochhalter
Violoncelle
Quinn Smith
Percussion
Rafael Rishik
Violon
Ray Tischer
Alto
Rita Weber
Violon
Rodney Wirtz
Alto
Roland Kato
Alto
Samuel Fischer
Violon
Sara Andon
Flûte
Sara Parkins
Violon
Songa Lee
Violon
Stephanie O'Keefe
Cor d’harmonie
Steve Kajala
Flûte
Steve Kajala
Flûte
Thomas Bangalter
Synthétiseur
Timothy Loo
Violoncelle
Vanessa Freebairn-Smith
Violoncelle
Warren Luening
Trompette
COMPOSITION ET PAROLES
Thomas Bangalter
Paroles/Composition
Giorgio Moroder
Paroles/Composition
Guy-Manuel de Homem-Christo
Paroles/Composition
Chris Caswell
Arrangement
PRODUCTION ET INGÉNIERIE
Thomas Bangalter
Production
Guy-Manuel de Homem-Christo
Production
Peter Franco
Ingénierie de prise de son
Mick Guzauski
Ingénierie de mixage
Florian Lagatta
Ingénierie de prise de son
Guillaume Le Braz
Ingénierie d’enregistrement des voix
Daniel Lerner
Ingénierie de prise de son
Seth Waldmann
Assistance d’ingénierie de prise de son
Cory Brice
Assistance d’ingénierie de prise de son
Nicolas Essig
Assistance d’ingénierie de prise de son
Eric Eylands
Assistance d’ingénierie de prise de son
Derek Karlquist
Assistance d’ingénierie de prise de son
Miguel Lara
Assistance d’ingénierie de prise de son
Mike Larson
Assistance d’ingénierie de prise de son
Bill Rahko
Assistance d’ingénierie de prise de son
Kyle Stevens
Assistance d’ingénierie de prise de son
Doug Tyo
Assistance d’ingénierie de prise de son
Eric Weaver
Assistance d’ingénierie de prise de son
Alana Da Fonseca
Ingénieries complémentaires
Phil Joly
Ingénieries complémentaires
Bob Ludwig
Ingénierie de mastérisation
Chab
Ingénierie de mastérisation
Charlie Paakkari
Assistance d’ingénierie de prise de son
David Channing
Ingénierie de montage
Gus Koven
Conception sonore
Gus Koven
Conception sonore
Kevin Mills
Assistance d’ingénierie de prise de son
Paroles
When I was fifteen, sixteen, when I really started to play guitar
I definitely wanted to become a musician
It was almost impossible because, it was, the dream was so big
That I didn't see any chance because I was living in a little town, was studying
And when I finally broke away from school and became a musician
I thought "Well, now I may have a little bit of a chance"
Because all I really wanted to do is music and not only play music, but compose music
At that time, in Germany, in '69, '70, they had already discotheques
So, I would take my car, would go to a discotheque, sing, maybe, thirty minutes
I think I had about seven, eight songs
I would partially sleep in the car
Because I didn't want to drive home and that helped me for about, almost two years
To survive
In the beginning
I wanted to do an album with the sounds of the '50s, the sounds of the '60s, of the '70s
And then have a sound of the future
And I said, "Wait a second
I know the synthesizer, why don't I use the synthesizer, which is the sound of the future?"
And I didn't have any idea what to do, but I knew I needed a click, so we put a click on the 24-track
Which then was then synced to the Moog Modular
I knew that could be a sound of the future, but I didn't realize how much the impact it would be
My name is Giovanni Giorgio, but everybody calls me Giorgio
Once you're free of mind about the concept of harmony and of music being "correct"
You can do whatever you want
So, nobody told me what to do
And there was no preconception of what to do
Writer(s): Thomas Bangalter, Guy Manuel Homem Christo, Giorgio Moroder
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