Disco Robot Sex with Dee D. Jackson

Outer Space Music Banner

Until Star Wars came along in 1977, the future of space travel was still shiny and silver, and Space Disco of that era is the last stand of this bright vision of the future before things became jaded and dark in the 1980’s. Last week we looked at SpAce and listened to their outer space disco electronica, but this week things get more intimate with British singer Dee D. Jackson and her experiences with an “Automatic Lover.”

Dee D. Jackson

“Automatic Lover” was Jackson’s second single and her biggest hit, reaching number four in the British music charts of 1978, and number one in Argentina, Italy, France, Spain, Turkey and Japan.

That same year, she released her first album Cosmic Curves, a science fiction/disco LP, produced by Gary Unwin and his wife Patty. The second single from Cosmic Curves was released later that year, but “Meteor Man” did not manage to break into the British top 40, however it was a hit in Argentina, Europe, Japan and Brazil.

Dee D. Jackson Automatic LoverJackson’s popularity in Brazil led to a strange case of copyright infringement when a Brazilian recording company actually produced its own version of Dee D. Jackson. A Brazilian girl (Regina Shakti) dressed like Jackson, and along with her robot and a meteor man, were introduced on TV programs there as the real Dee D. Jackson. Shakti was introduced as ‘D. Dee Jackson’ to avoid problems with royalties.

The second album by Dee D. Jackson, Thunder & Lightning, was released at the end of 1980. In Italy it was released under the name The Fantastic featuring a different album cover. The first single “SOS (Love to the Rescue)” failed again in the UK, but once more saw success in France, Brazil, Italy, Argentina, Japan and Germany.

The song, “Automatic Lover,” is a great example of Space Disco and like most science fiction fetishizes technology with the loss of humanity caveat: “Love in space and time/There’s no more feeling/Automatic lover/Cold and unappealing.” The implication is that no matter how skilled this robot may be in providing sexual satisfaction, one still requires the human touch: “After love is done/Where’s the true reaction?” The primary purpose of the song is to provide a song by which to dance, and the lyrics are delivered with the upmost sincerity, but looking back 37 years the song is hysterical with the now kitsch tone of the robot repeating “I am . . . your automatic lover!” 

In the early 1980s, Jackson moved to Los Angeles, California and, in 1981, a greatest hits album called Profile was released in Germany. But after spending only months living in the U.S., she relocated to Italy, and subsequently released the Italo disco singles “Talk Me Down” (1981), “Shotgun” (1982), “Moonlight Starlight” (1984), “Sweet Carillon” (1984) and “Heat of the Night” (1985). In 1988, “Automatic Lover” was remixed by Michael Cretu (Enigma), and released as a single entitled “Automatic Lover 88 Digital Max Mix”, another hit in Japan. A new album Blame It on the Rain was issued in 1995, with the attendant single release “People”. 

Since 1996, Jackson has written songs and produced for other musicians. With the duo Nylon Moon, Jackson wrote the lyrics and melody and sang backing vocals on the track “Poppy Fields”. Another track, “Maybe My Day”, was included in the soundtrack of La Stanza del figlio.

Listen to more Outer Space Music HERE and see what happens when you get stuck between rock and dork place.

030715 PC 2016 Banner

Comments are closed.

Skip to toolbar