Italian Disco Stories x The Twelve Inch: On "Self Control"

This week, we collaborated with Pé Dupre of The Twelve Inch newsletter and we’re cross-posting the same article on both platforms. The resulting post is the amalgamation of both of our writings.

Pé is a disco kid🕺 & 80ties dance music lover and writer. His mission is to help you embrace your secret love for 70s and 80s dance music. Each week, he shares the stories of artists you know and those you think you don’t. Fair warning: a dose of sarcasm, puns, and dry humor is inevitable! We strongly urge you to subscribe to his newsletter if you haven’t yet. It’s one of the best ones of its kind.

A great story of cross-atlantic collaboration

This week, we explore a fascinating connection that played a pivotal role in launching the career of one of the 1980s’ biggest American superstars, Laura Branigan, and how Italian music was key to her breakthrough. Her iconic hit “Self Control” was released simultaneously with the original version by Italian songwriter Raffaele Riefoli, known as RAF. The song became a turning point for both artists, propelling their careers to international fame. However, it was Branigan’s version that dominated the charts in most countries. In this edition, we delve into their intertwined stories and examine what this milestone meant for both of them.

Laura Branigan: The Italian Connection that Propelled a Superstar

Laura Ann Branigan, born on July 3, 1952, in Mount Kisco, New York, found her calling in entertainment during high school. After attending the American Academy of Dramatic Arts in Manhattan, she embarked on a musical journey. Her ambition for a solo career led her to sign with Atlantic Records in 1979, marking the beginning of her rise to stardom. Her first album, known as Silver Dreams, was to be released in 1981 but it was canceled. The reason was that Atlantic had mixed feelings about the album and engaged German producer Jack White to turn things around.

But the delay would rather work beneficial as Jack White would go on to produce all her 4 albums for Atlantic, her most successful period. A key part was the song choice. What becomes immediately clear when you consider Branigan’s career is that almost all her big hits were European/Italian of origin. Jack White would later explain : People think I have chosen European songs intentionally, but to me, a good song is a good song. As a producer, I have always felt there are no bad artists, only bad songs in the world. It was really more or less an accident that Laura’s first three big hits turned out to be European songs.

Branigan’s breakthrough came with her 1982 hit “Gloria”, an English-language cover of Umberto Tozzi’s Italian classic. Jack White explained : I saw how popular the song already had been here, and wondered why it hadn’t ignited in the U.S. I had to convince a lot of people who thought it was too European, none of whom knew Laura at the time. I did finally persuade her and everyone else that the taste of good music couldn’t be that diverse. I must say I had the complete support of Atlantic president Doug Morris, who I believe is the best record man I’ve met.”.

“Gloria” was co-written by Giancarlo Bigazzi, who also contributed to writing “Self Control.” This dual connection between Bigazzi and Jack White explains why Laura Branigan recorded “Self Control” almost simultaneously with Raf’s original version.

Raf : the birth of an Italian superstar.

Born in Margherita di Savoia, a small town in Puglia, Raffaele Riefoli began his musical journey in Florence’s punk scene. There, he teamed up with Ghigo Renzulli to form the band Cafè Caracas. Renzulli would later go on to establish the iconic rock group Litfiba. Eventually, Riefoli relocated to London to immerse himself further in the punk movement. However, the language barrier initially forced him to take on odd jobs, limiting his ability to audition or promote himself as a musician. During this period, he attended numerous post-punk and new-wave concerts and frequently traveled between London and Florence. He ultimately returned to Florence when producer Giancarlo Bigazzi expressed interest in collaborating with him.

The song Self Control had been a work in progress for some time. “It was a track I originally wanted to perform with my band, but I never fully pitched it,” Raf revealed in an interview with Wired Italia during the summer. He revisited the idea when Bigazzi asked him for musical suggestions. “I didn’t expect to perform it myself, as I was mainly working behind the scenes at the time,” he said. The song’s foundation lies in what Raf describes as a “typically rock” chord progression. “I started humming the verse and added a 4/4 beat. I thought it could work as a dance track and began developing it in that direction.” While Self Control is now considered part of the Italo disco canon, Raf himself doesn’t view it that way. He envisioned it as a dance track but insists its sound leans more toward rock than traditional Italo disco.

Raf wrote the lyrics but enlisted the help of Steve Piccolo, bassist for the Lounge Lizards, to refine the language and avoid stylistic or grammatical inconsistencies. Piccolo also played on Raf’s recording of Self Control. The song aimed to capture the persona of someone who lives only for the night, dreading the arrival of daylight.

The Dual Impact of “Self Control”

Bigazzi was the mastermind behind the iconic hook of Self Control—the vocalized “o” sound. Raf had improvised it in the demo, intending to replace it later, but Bigazzi insisted to keep it. This kind of vocalization also appears in other notable tracks, such as Baltimora’s Tarzan Boy and Brian Ice’s Talking to the Night. The arrangement was done by Celso Valli, who also produced the rest of his album. Valli is known for working on monumental tracks in the 1970s and 80s such as Mina’s albums Italiana, 25, and Catene; the singles “Ti Sento” by Matia Bazar, “Quello che le donne non dicono” by Fiorella Mannoia, and the majority of Eros Ramazzotti’s early work. He was not too heavy-handed with his arrangement: Raf claims he maintained his vision while only smoothing out some kinks.

Raf’s original version of Self Control radiates raw, edgy energy, perfectly embodying the tension and mystique of nightlife. In contrast, Laura Branigan’s version presents a slower, sleeker, and undeniably more seductive interpretation.

Branigan’s production introduced a key change—an electric guitar riff replacing the synths in Raf’s version. This powerful shift added an explosive dynamic, likely contributing to the wider appeal of her rendition. The song’s progression, from its eerie synth-driven opening to the energetic guitar climax, made it a dancefloor magnet. Branigan’s sultry delivery was further enhanced by a provocative music video directed by William Friedkin. Initially considered too risqué for MTV, the video required edits before airing. However, the controversy only fueled the track’s allure, turning it into a definitive hit of the MTV era.

The chart performance

When Laura Branigan’s version of Self Control soared to No. 4 on the US Billboard Hot 100, Raf found his excitement tempered by a lack of familiarity with her influence. “I came from the underground scene and hardly listened to the radio—I didn’t even know who she was,” Raf told Wired Italia. “I didn’t realize the song could achieve mainstream success. That said, I really like her version, especially for its rock elements.”

Branigan’s rendition didn’t just dominate in the U.S.; it reached No. 1 in most Scandinavian countries, Germany, Austria, and Portugal, and became a top 5 hit across much of Europe. Raf’s original version also enjoyed massive success, topping the Italian charts for seven weeks and reaching No. 1 in Switzerland (alongside Branigan’s version), No. 2 in Germany, and No. 7 in Austria. “Anglo American audiences were possibly not accustomed to a song like this sung from a male perspective. Italo vocals strike a very different note: that of machismo,” writes Stephen Hill in the essay “Straightwashed or Hiding In Plain Sight.” “With Self Control its impassive lyric is at odds with the macho delivery. However, it is the contrast between the soaring synth line and the aggressive masculine pride intoned by the vocal style that really stands out”.

One intriguing feature of Raf’s extended version is its rap section, performed by an uncredited rapper and Raf himself. This “hidden gem,” often overlooked, reflects the eclectic music trends of early 1980s Italy and Europe. Rock, disco, pop, and the burgeoning rap movement from the U.S. converge and coexist within this single track, capturing the era’s experimental spirit.

Both versions of Self Control highlight the fusion of Italian creativity and American artistry, showcasing how cultural exchange can redefine music on a global scale.

Why Italy’s Influence Matters

Laura Branigan’s success epitomizes the unique role Italy has played in shaping global dance music. From Giorgio Moroder’s pioneering disco productions to the enduring appeal of Italian songwriting, Italy’s contributions to the genre are immeasurable. Branigan’s career serves as a bridge between cultures, proving that great music knows no borders.