Giorgio starts every show by checking for the latest Singles Jukebox update…

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[6.75]

Sabina Tang: You know how sometimes a joke grows more elaborate with every riff, until you end up taking it seriously? I want Nicolas Winding Refn to modernize his viking flick as a simultaneous sequel to Drive, transported to Japan in haut-weeaboo style: Valhalla Rising II: Tokyo Drift. Ryan Gosling’s inarticulate soulful driver, now in hock to the yakuza, versus Mads Mikkelsen’s one-eyed assassin, in the grand tradition of 1980s katana-wielding white ninjas. Gunplay in the labyrinthine depths of a Shinjuku-itchome hostess bar, and at least one Michael Mann shot in which blokes jump from a helicopter straight into a waiting police car to no discernable narrative effect. Well, fine — I can live with just the soundtrack. Thanks, Giorgio.
[8]

Anthony Easton: Do you know that amazing Tangerine Dream track that was playing when Tom Cruise fucked Rebecca De Mornay in the empty subway car in Risky Business? How much it seemed like a German attempt at an Americanization of an Italian reworking of an African American genre, but with the arrogance and smugness of Tom Cruise at his best – -how seamless it’s agitprop cock thrusts were? Has it seemed like that was the hidden source of so much of the disco reworkings lately — and given how much of a memory for camp/cheese the French have, could Daft Punk not be quoting that when they made the hagiographic track about Moroder on Random Access Memories? This recalls all of that, and asks the vital question: can you write your own hagiography?  
[8]

Brad Shoup: Put “Theme” in the title and most is forgiven. I’ll just make up some credits. Mororder pulses and pulses until the pullback, touching on motorik tributes to “Hash Pipe” and his own fête on Random Access Memories. He’s a huckster for sure, but it’s been a great grift.
[6]

Katherine St Asaph: Moroder zooms through three decades of dance history, house to trance to disco licks to “I Feel Love,” to claim it (again) as his own while shrugging out a humblebrag: “It’ll have some arpeggios and nice chords.” He even cut his own “Giorgio by Moroder.” The commentariat is less than pleased (RA commenter: “sounds like daft punk taking a shit”), but “Giorgio’s Theme” is still great because it is simpatico to three Moroder principles: there is no better way to live your career than the way that lets you cut your own goddamn theme song in your 70s; machines do it steadier; if you fix your gaze longingly enough on something far off and enticing, then it, or you, will melt.
[8]

Scott Mildenhall: It’s hard to justify an instrumental’s 8-minute length without it either being extremely catchy or full of variety. Far from the latter, “Giorgio’s Theme” has the temerity to repeat long passages in lieu of actually going anywhere. It might be better cut in half, with some nice words over the top.
[6]

Thomas Inskeep: Moroder is the master of the build, and proves it again here. The first three minutes of “Giorgio’s Theme” could’ve been recorded 35 years ago, but it’s not retro per se, because he was so very ahead of his time that we’ve simply caught up to where he was then. The rest of the track reminds us that he’s still paying attention, melding yesterday/today better than anything I’ve heard recently, and a flawless reminder that today’s techno still owes a massive debt to the sonics Moroder was crafting in the ’70s. 
[9]

Alfred Soto: I’m grateful an audience exists for electronic syncopations, whooshes, and motorik in 2014. Having acknowledged its existence, Moroder needs to push it.
[4]

Jonathan Bradley: “Giorgio’s Theme” lurks like a brooding “I Feel Love,” as if Moroder felt the need to re-stake his claim on a sound he’s always owned, daft punks be damned. In that case: yes Giorgio, noted.
[5]