The summer of 1979. Studio 54 was the epicenter of nightlife, and the airwaves pulsed with the infectious beat of disco. Amidst this vibrant scene, Anita Ward’s “Ring My Bell” emerged as an undeniable anthem, a track that transcended the typical disco label to become a cultural touchstone. For many, including myself as an eighteen-year-old navigating the disco-infused nightclubs of Raleigh, North Carolina, this song was more than just music; it was the soundtrack of a moment.
My personal journey with disco is nuanced. While I appreciate the genre’s energy, not all disco resonates with me. Attempts by rock acts often fell flat, sounding forced and inauthentic. Even ABBA’s disco ventures, to my ears, lacked genuine soul. However, within the vast disco landscape, certain tracks stand out as pure gold, and “Ring My Bell” is undoubtedly one of them. It’s a song that instantly transports me back to that pivotal summer, a time of youthful exploration and the exhilarating discovery of nightlife.
The scenes depicted in Saturday Night Fever weren’t just cinematic fantasy; they mirrored my reality. I even spent a few months working as a busboy in a local discotheque, maneuvering through the nightly throng on a flashing dance floor, balancing trays laden with glasses. But Raleigh was a far cry from the legendary Studio 54. Inspired by the allure of the New York disco scene, I convinced my friend George that we needed to experience the real deal. Post-high school graduation, we embarked on a week-long adventure to New York City, a prelude to summer jobs and the looming responsibilities of college.
Having been born in New York, returning felt like a homecoming. My first encounter with Saturday Night Fever was at a packed theater on East 86th Street. But this trip was different. I was no longer a child; I was an adult, ready to immerse myself in the legendary Studio 54. Donning our best, albeit slightly wrinkled, khakis and blazers, George and I approached the infamous velvet rope, bracing ourselves for the discerning gaze of the gatekeeper. To our surprise, the process was remarkably easy. “You two preppies – you…” the doorman gestured, granting us entry.
In retrospect, Studio 54 embodies both the dazzling allure and the superficiality of the disco generation – a commercially driven and drug-influenced echo of the love revolution of the previous decade. But that night, the air crackled with excitement, a heady mix of glamour and newfound freedom. We danced until dawn, losing ourselves in the sounds of Chic, Sylvester, and, of course, the irresistible rhythm of Anita Ward’s “Ring My Bell.”
AMEX_SOS_Charts_1979_Highlight.jpg
This chart highlighting “Ring My Bell” in 1979 illustrates the song’s widespread popularity and dominance during that summer’s music scene.
For the rest of our New York sojourn, “Ring My Bell” was omnipresent. It poured out of taxi radios, pulsed from bodegas, and echoed from electronics stores showcasing their audio equipment. Boomboxes became mobile transmitters of the infectious tune, and every dance floor vibrated with its energy.
The song’s brilliance lies in its simplicity. The bell hook is instantly recognizable and utterly captivating. Adding to its unique sonic texture is the distinctive decaying tone on the fourth beat, a sound reminiscent of the popular Space Invaders arcade game, adding a futuristic touch to the disco beat. Then there’s Anita Ward’s voice – sultry, almost breathy, delivering lines like, “I’m glad you’re home, now did you really miss me?” – building anticipation before unleashing the iconic hook and those irresistible bells once more.
While “Ring My Bell” might be easily dismissed as just another fleeting disco fad, a relic of the 70s, there’s a surprising depth to the song. Its catchiness is undeniable, but beneath the surface lies a rich tapestry of musical influences and cultural resonance.
A recent cover version by New York cabaret artist Sxip Shirey illuminated the song’s unexpected gospel roots. Shirey’s rendition emphasizes the melody’s minor blue notes, supported by a powerful church choir, revealing a spiritual core within the disco sheen. Listening back to Anita Ward’s original, this gospel influence becomes apparent. She masterfully blends the fervor of gospel with the exuberance of disco, creating a sound that is both celebratory and soulful.
Beyond its musical complexity, “Ring My Bell” also tapped into the burgeoning sexual revolution of the late 70s. The media was fixated on female sexuality, particularly the female orgasm. This wasn’t just tabloid fodder; it reflected a growing awareness among women about their own desires and pleasure. “Ring My Bell” became an anthem for this awakening, a sonic expression of female sexual empowerment. Interestingly, this empowering message was almost lost in translation.
The song was initially conceived for a 12-year-old Stacy Lattisaw, with lyrics centered around innocent telephone conversations – the “bell” referring to a phone bell. When Lattisaw switched record labels, the song remained with Juana Records. Frederick Knight, the songwriter, then offered it to Anita Ward, reimagining the lyrics with a more mature, “grown-up” theme. Ward, a schoolteacher aspiring to a music career, initially hesitated, unconvinced by both the song and the lyrical shift. However, Knight persuaded her to record it, a decision that would alter the course of her life and music history.
“Ring My Bell” became Anita Ward’s defining hit, her sole foray into the upper echelons of the charts. Her recording career beyond this smash was minimal. The song also marked a turning point for disco itself. By the end of that summer, the music industry, seeking fresh sounds, embraced Michael Jackson’s “Off the Wall,” ushering in a new era of pop. Platinum records eclipsed gold, hip-hop began sampling disco’s rhythmic foundations, and music embarked on a new trajectory.
Ward’s chart-topper was among the last disco hits that truly captivated me. My musical tastes soon evolved, gravitating towards blues, funk, and improvisational genres like jazz and reggae. Later, my time volunteering with the Peace Corps in West Africa exposed me to a universe of diverse and captivating sounds. There, I discovered the profound role of the bell in the music of the Ewe people of Togo and Ghana. In their musical traditions, the bell is not merely a percussive element; it underpins rhythm and even melody.
The sound of the bell, in its myriad forms, serves as a universal call to attention, a unifying force that brings people together. Whether it’s the introductory rhythm for a communal dance, the familiar chime of an ice cream truck, or the captivating hook of a seductive song, the bell signals “I’m ready to move.” That feeling of kinetic energy, of being compelled to move, resonated deeply with me in the streets of New York City in June 1979, fueled by the irresistible pulse of Anita Ward’s “Ring My Bell” and the vibrant energy of summer.
Listen to the complete top ten from the summer of 1979 on Spotify.
