Giorgio Moroder: Editing for the Architect of Electronic Music

CASE STUDY · THE COMEBACK OF A LEGEND

In 1977, Giorgio Moroder built “I Feel Love” on machines and was told it wasn’t real music. He answered with three Oscars and the foundation of every electronic genre that followed. In 2015, in his mid-seventies, he made his comeback album — and I was hired to edit on it.

Déjà Vu (RCA) debuted at #1 on Billboard’s Top Dance/Electronic Albums chart — Moroder’s first appearance on a Billboard albums chart in nearly four decades. My work on and around the project, across multiple engagements:

• Digital editing across the album, including Britney Spears’ vocals on “Tom’s Diner” — shaping one of pop’s most distinctive voices for one of its most distinctive producers.
• Background vocals on “Wild Star” featuring Foxes.
• Vocal editing of Lady Gaga and Tony Bennett on Moroder’s remix of “I Can’t Give You Anything but Love” — two icons, recorded in different studios, in different cities, at different times, edited until no ear on earth could tell. (The remix — distinct from the Cheek to Cheek album version.)

Stream embed (pending): “Tom’s Diner” — track embed here

Stream embed (pending): “Wild Star (feat. Foxes)” — track embed after its bullet

Why this credit matters beyond the names: Moroder is the original answer to the question my whole studio is built around — what happens when a real musician takes new machines seriously. Working for him, and being personally thanked for the work, isn’t just a line on a discography. It’s lineage. Every generation, the tools change, the argument repeats, and the producers who master the machine while keeping human judgment in command are the ones history keeps.

Checkable: Billboard, release credits.