About a month before thousands chanted “Disco sucks!” at Chicago’s Comiskey Park, Gino Soccio was ensconced in his Montreal studio, sipping coffee with cognac and laying down tracks for his second LP. Leaning against a twenty-four-channel mixing desk, Soccio spoke like a disco evangelist during a June 1979 interview with the Canadian Press: “Disco is more than just music. It’s a social movement, and I’m not jiving you when I say it’s spreading to epidemic proportions. It fills a demand for people who want to blow their minds dancing.”
Soccio had been blowing plenty of minds over the past year. His debut LP’s lead single, “Dancer,” had topped the Billboard disco charts for six weeks, propelling his LP Outline onto more than a million turntables globally. Slim and wide-eyed with a handlebar moustache and mane of dark hair, Soccio was immediately hailed as a disco auteur and a synth wizard. Trained in classical orchestration, Soccio created music that mixed the glamour of European disco with the gritty bottom-end of American R&B.