Friday, February 11, 2011
Dino Solera & The Munich Machine - Classically Elise - Part 1 - (12" Ve...
Label:
Derby
Catalog#:
DBR 5396
Format:
Vinyl, 7"
Country:
Italy
Released:
1977
Genre:
Electronic
Style:
Disco
"Cathedrals" D.C.LaRUE (1976) Original version
His first big hit happened in 1976 and was titled "Cathedrals". With its release on Pyramid Records D.C. proved he could write, sing, produce and perform like a true veteran. LaRue's 1976 "Cathedrals" 12" 45 RPM caused an immediate sensation in the disco/dance clubs through out the world. D.C. was the first white male to ever hold the #1 R&B/Soul chart position in England. "Cathedrals" was the first commercially available 12" disco single in the USA and the only 12" single to be charted on Billboard Magazine's Top 100 Singles chart before or since.
Carol Williams - My Time Of Need (1976)
Taken from the 1976 LP "'Lectric Lady" on Salsoul Records. This is the first track off the B-Side. The A-Side of course has the classic "Love Is You' and 'More' on it.
Carol Williams born in Monclair, New Jersey, United States is a disco musician. She was the first female artist signed to the new disco label Salsoul Records.
Career
She worked with producer Vince Montana, Jr. and the Salsoul Orchestra. Her most notable recording, "More'", was very popular at a time when disco was just breaking into the mainstream and is widely seen as an early disco classic. More was the first 12 inch commercial single that one could buy in stores all over the world. It peaked at #4 on the Hot Dance Club Play chart in 1976. The success of "'More" led to the 'Lectric Lady album, released in 1977 and featuring the hits "Come Back" and the club classic "Love is You". This was sampled in 1999 by Italian DJ Spiller in an instrumental track called "Groove Jet", on the "Mighty Miami EP", and in 2000 in the vocal version of the track, called "Groovejet (If This Ain't Love)" with vocals performed by Sophie Ellis-Bextor. The track featuring Ellis-Bextor reached number 1 in the UK and AUS Pop charts and sparked renewed demand for the original. Carol's success at salsoul put her in demand as a major disco act traveling the world performing at all the major disco clubs like Studio 54 and Odyssey 2001 and etc. she did a lot of TV specials like the legendary performance at roseland with the salsoul orchestra which was on television in 1977 promoting an album completion called Salsoul Disco Boogie.
Not long after the release of her album, Williams parted company with Salsoul. In 1978 she signed with Canadian label Roy B. Quality Records she recorded a duet with singer producer Tony Valor "Love Has Come My Way." It got a lot of club play which led to her 1979 album Reflections Of with disco classics "Tell The World" and "Dance the Night Away". Carol toured the world with these classics, performing with other stars like The Trammps, Thelma Houston, the Village People, Tom Jones and James Brown.
[edit] The 1980s to Present
In 1982 she had a R&B hit "Can't Get Away From Your Love" on Vanguard label which did well for her on the R&B dance charts. "You've Reached the Bottom Line" in 1983, "What's The Deal" in 1987 , and "Queen of Hearts" in 1989 all kept her on the charts. Her hits played an important part in the disco club scene. DJs typically kept Carol's records available as people would eventually request her songs.
Carol Williams is still performing, doing shows on disco flashback concerts and she travels with her live band. You can find Carol Williams on Salsoul various compilations Unidisc, Suss'd Record's Vanguard.
B.T. Express - "Can't Stop Groovin' Now, Wanna Do It Some More"
B.T. Express (originally named Brooklyn Trucking Express) was an American funk/disco group, that had a number of successful songs during the 1970s.
Career
Members of the group included vocalist Barbara Joyce Lomas, brothers Jamal (Louis) and Bill Risbrook, Billy Nichols[1] (who wrote their number 1 hit "Do It ('Til You're Satisfied)"), Richard Thompson, lead guitar/vocals Wesley Pike Hall, Jr., Carlos Ward, Orlando Woods drums, and Dennis Rowe. Michael Jones, a keyboardist in the band from 1976–1979, later went solo and recorded under the name Kashif; he had several R&B hits in the 1980s. Billy Nichols also started a solo career, and had a hit with "Give Your Body Up to the Music" (1979).
B.T. Express were signed in 1974 by internationally known pop artist and music industry veteran Sid Maurer, and former Epic Records promotion man Fred Frank, who were launching their new record label, Roadshow Records. The first record they released was their #2 Billboard Hot 100 song from 1974 "Do It ('Til You're Satisfied)". The follow-up single, an instrumental track titled "Express", reached #4 on the Hot 100, while both singles topped the Hot Dance Club Play chart. "Express", written by Jeff Lane stayed in the Hot 100 for 16 weeks, and also reached #34 in the UK Singles Chart. It was awarded a gold disc status by the R.I.A.A. on 4 August 1975.
Albums
* Do It ('Til You're Satisfied) (1974) RB#1, U.S.#5
* Non-Stop (1975) RB#1, U.S.#19
* Energy to Burn (1976) RB#11, U.S.#43
* Function at the Junction (1977) RB#39, U.S.#111
* Funky Music (1977)
* Shout (1978) RB#16, U.S.#67
* B.T. Express (1980) RB#29, U.S.#164
* Keep It Up (1981) RB#49
Menergy - Glenn Rivera ReStructure Mix - Patrick Cowley
It was 1981 when Patrick Cowley released his ominous keyboards in "Menergy" - produced by Cowley and Marty Blecman.
Cowley had created a fusion of innovative disco productions at the end of the late 70's along with Sylvester ("Dance (Disco Heat)" and "You Make Me Feel (Mighty Real)") it was just a matter of time until he unleashed his magic and power on his solo projects.
During the early 80's when San Francisco was the spot for the re-birth of disco and dance music thanks to labels like Megatone and Moby Dick Records. This was Cowley's focus: to bring back the energy of disco music to the dance floor. With "Menergy" he hit the spot - it is a tour de force of electronic magic.
Dedicated to Dominique from France and his undying love for the disco sound and respect for it.
Photo Portret,The Ritchie Family
Career
The four original members were not related; the group was created by Jacques Morali who soon after also created Village People. The group took its name from record producer Ritchie Rome, and originally consisted of four singers Jean Davis, Cassandra Wooten, Gwen Oliver (who eventually married musician Fred Wesley), and Nadine Felder. They were originally known as Honey & The Bees. Then they were reformed as a trio with Cassandra Wooten, and Gwen Oliver as the new line-up. (Honey and the Bees was a totally different group) Honey and the Bees was managed by Jimmy Bishop, a successful Philadelphia radio personality. He also managed Barbara Mason. After Honey and the Bees disbanded, Cheryl Mason-Jacks, Gwendolyn Oliver and Cassandra Wooten begin singing with the idea to do background vocals. A few years before Nadine Felder and Cassandra Wooten had done background work for Jacques Morali. He called them a few years later when he wanted to form a group. By then, Gwen, Cheryl and Cassandra were preparing to get session work. Jacques liked their sound, and, thus, the Ritchie Family was born.Their first hit single, a reworking of the 1930s song "Brazil" reached the Top 20 in the United States in 1975, and the album, also titled Brazil, sold well. The following year they released the album Arabian Nights, and with it the single "The Best Disco In Town". The song was essentially a medley of recent disco songs linked together with an original chorus and it became a worldwide hit.
Their follow up albums Life is Music, which followed a 1930s theme, and African Queens were only mediocre successes. Each of these four albums was a concept album featuring songs of a similar theme as suggested by each album title. Each album also featured a long medley, usually running from 15 to 20 minutes.
By 1978, the three members had been replaced by Jacqui Smith-Lee, Theodosia "Dodie" Draher and Ednah Holt. Their 1978 album, American Generation, was a slight departure from disco and more in the style of europop, although one of the singles from it was called "I Feel Disco Good." The group abandoned the exotic and highly kitsch costumes of their earlier incarnation in favour of a more contemporary, sexually provocative style. This album was followed by the album "Bad Reputation", at which point Holt departed (and formed her own group Ednah Holt and Starluv) and was replaced by lead singer Vera Brown; the group enjoyed success with "Put Your Feet To The Beat."
The Ritchie Family lineup of Brown, Smith-Lee and Draher next recorded the Give Me A Break LP which contained the hits "Give Me A Break" and "Never Be Able to Set You Free." Continuing with album releases, the next was a markedly different partnership with Jacques Fred Petrus and Mauro Malavasi, the pair behind Change. The album they recorded was I'll Do My Best For You Baby; following that was All Night All Right. By the time of 1983's "All Night, All Right" lp, Dodie Draher had left the group and newcomer Linda James took over her spot.
In 1980 they joined Village People for the movie Can't Stop the Music. The film was a resounding failure and still appears on many critics' "worst ever" lists; however the soundtrack album sold well in some parts of the world. By this time disco music had already reached its peak, at least in the US.
Also in 1980, Wooten and Mason-Jacks sang background vocals on John Lennon's final album, Double Fantasy.
After deciding to split, when group owner Jacques Morali discovered he had AIDS, the group continued as Vera Brown and the Rich Girls for one song called "Too Much Too Fast" that crashed completely. Vera Brown has reformed The Ritchie Family, with Dodie Draher and Jacqui Smith-Lee, but without further releases.
With original members Wooten, Mason-Jacks and Oliver, the group achieved its highest grossing sales.
Discography
Singles
- 1975 "Brazil" / "Hot Trip"
- 1975 "Dance With Me" / "Lady Champagne"
- 1975 "Dance With Me" / "Pinball"
- 1976 "The Best Disco In Town" / "Part II"
- 1976 "Istanbul" / "Baby I’m On Fire"
- 1977 "Life Is Music" / "Lady Luck"
- 1977 "African Queens" / "Part II"
- 1977 "African Queens" / "Summerdance"
- 1977 "Quiet Village" / "Voodoo"
- 1977 "Quiet Village" / "Versions"
- 1978 "American Generation" / "Music Man"
- 1978 "American Generation" / "I Feel Disco Good"
- 1978 "Good In Love" / "I Feel Disco Good"
- 1978 "La Barbichette" / "Forever Dancing"
- 1979 "Where Are The Men?" / "Bad Reputation"
- 1979 "Put Your Feet To The Beat" / "Bad Reputation"
- 1979 "Put Your Feet To The Beat" / "Sexy Man"
- 1979 "It’s A Man’s World" / "Bad Reputation"
- 1980 "Give Me A Break" / "Bad Reputation"
- 1980 "All My Love" / "Bad Reputation"
- 1980 "All My Love" / "Versions"
- 1980 "I’ll Never Be Able To Set You Free" / "Not As Bad As It Seems"
- 1982 "I’ll Do My Best" / "You’ve Got Me Dancin’"
- 1982 "Walk With Me"
- 1982 "Real Love" / "Stop And Think"
- 1982 "Alright On The Night" / "You Can Always Count On Me"
- 1983 "All Night, All Right" / "Versions"
- 1983 "This Love’s On Me" / "Tonight I Need To Have Your Love"
- 1987 "The Best Disco In Town" (Remix) / "American Generation"
- 1995 "I’ll Do My Best" / "Versions"
- 1996 "I’ll Do My Best" / "Versions"
- 1997 "American Generation" / "Versions"
- 1997 "Brazil" samba mix and dub mix
- 1998 "The best disco in town" summer mega club mix/ radio mix
Albums
- 1975 Brazil
- 1976 Arabian Nights
- 1977 Life Is Music
- 1977 African Queens
- 1978 American Generation
- 1979 Bad Reputation
- 1980 Give Me A Break
- 1982 I’ll Do My Best
- 1983 All Night, All Right
Soundtracks
- 1979 Je Te Tiens, Tu Me Tiens Par La Barbichette
- 1980 Can’t Stop The Music
Tuesday, February 8, 2011
"(Everybody's) Dancing All Over The World" by Busta Jones -- Di...
Busta Jones was featured on Gino Soccio's 1979 "Outline" LP performing as bass guitar. Pairing with Pat Deserio and co-producing by Soccio he released "(Everybody's) Dancing All Over The World". This track helped to keep the disco beat alive on many dance floors with its electronic feel and funky bass line. Quite similar to what Jones and Deserio were creating with Bombers ("Everybody Get Dancing" -- which featured Busta on vocals).
Busta Jones also produced Nona Hendrix's 1981 single, "Love Is Like An Itching In My Heart" along with Jerry Harrison.
This track has been combined with 1978 disco feature film, "Thank God It's Friday" featuring Donna Summer and The Commodores. The film set the disco scene quite adequately during the peak of disco. It has a light and comical view of the world of lights and disco beats.
The film was directed by Robert Klane.
Featuring scenes from "Thank God It's Friday" -- RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons
www.discovideomix.com
Dennis Coffey - Wings Of Fire - 1977
This longtime Motown session guitarist scored his own funky hits in the early 1970s with "Theme from Black Belt Jones," "Getting It On" and especially "Scorpio," which is one of the all-time breakbeat cuts. He worked with virtually every Detroit act from the late 60s through the late 70s, including the Dramatics (that's him on "In the Rain"), the Invictus stable of artists (Honey Cone, 8th Day, Chairmen of the Board), and Funkadelic (uncredited on the first album). As the decade progressed, he scored with the jazz-funk "Wings of Fire."
As a producer/writer, he helped discover Rare Earth and the pop group Gallery. In tandem with his partner Mike Theodore, he produced several acts for the Westbound label, including King Errisson, CJ and Company and the Detroit Four.
In 2004, Coffey's autobiography, Guitars, Bars, and Motown Superstars was published. It is recommended reading.
Dennis Coffey's Deepest Grooves
For a sampling of the pre-solo days, look for late 60s/early 70s Motown albums by acts like Undisputed Truth or Temptations.
Goin' For Myself (Sussex, 1971)
Debut album puts his playing firmly in the spotlight. Includes covers of "It's Too Late," "Bridge Over Troubled Water" and "Never Can Say Goodbye." The best songs are those with the Guitar Band, providing a hint of what was to come.
Evolution (Sussex, 1972)
Very interesting concept. Aside from the percussion, everything else you hear is performed by the Guitar Band (members: Bob Babbit on bass, Joe Podorsek on baritone, Ray Monette on tenor and Coffey on alto guitar). Home to "Scorpio." "Getting It On" was sampled by Public Enemy for "You're Gonna Get Yours."
Electric Coffey (Sussex, 1972)
Instant Coffey (Sussex, 1974)
Finger Licking Good (Westbound, 1975)
Back Home (Westbound, 1977)
Inconsistent but hard-hitting disco-funk grooves like "Wings Of Fire."
Devil's Gun - CJ and Company (Westbound, 1977)
Writing and production credits on the classics "We Got Our Own Thing" and the title cut.
Big City Funk -- Original Old School Breaks & Heavy Guitar Soul (Vampi Soul, 2006)
Long-overdue collection of Coffey classics. Includes "Getting It On," "Theme From Enter the Dragon," "Son of Scorpio," and many many others.
Cuchi Cuchi by Charo & The Salsoul Orchestra
María del Rosario Pilar Martínez Molina Gutiérrez de los Perales Santa Ana Romanguera y de la Hinojosa Rasten (born January 15, 1951), better known as Charo, is a Spanish-American actress, comedienne, and flamenco guitarist, best known for her flamboyant stage presence, her provocative outfits, and her trademark phrase ("cuchi-cuchi").
She was headlining Vegas shows by 1971, and reportedly being paid as much as Frank Sinatra, Ray Charles or Dean Martin. In 1977, she became a naturalized citizen of the United States; that same year, she filed for divorce from Cugat, a petition that was granted April 14, 1978 On August 11, 1978, she married her second husband, Kjell Rasten, a producer, in South Lake Tahoe, California, in a civil ceremony attended by 30 guests. Rasten soon became his wife's manager, and the couple has one child, a son, Shel Rasten (born 1982), who is the drummer for the heavy metal band Treazen.
Throughout the 1970s, she was a highly visible personality, appearing 8 times on The Love Boat, as well as on variety and talk shows such as Donny & Marie, Tony Orlando and Dawn, The Captain and Tennille, The John Davidson Show, The Mike Douglas Show, which she guest-hosted at least once, and even the infamously short-lived Brady Bunch variety spinoff.
In 1975, Dallas Morning News critic Harry Bowman wrote that the ABC network had "penciled in ... a half-hour comedy starring the uninhibited wife of Xavier Cugat" and commented, "This is probably the worst idea of the season." By October of that year, the performer was promoting a special slated for November, but the special did not actually appear until May, 1976.] A TV listing for August 24, 1976, shows what appears to be an unsold pilot airing on ABC at 8:30 pm CST: "Charo and the Sergeant - Situation comedy starring Charo Cugat. Charo's first U.S. job is to be a dancer at an off-limits night club, and her conservative Marine Corps husband finds out. The few episodes that were taped ended up being broadcast on the American Armed Forces Network overseas. "
By the late 1970s, Charo was being mentioned as an example of how overexposure could damage a celebrity; one such article quoted Steve Levitt's "Q score" research to show the performer's popularity declined slightly even as her familiarity increased:
“ Before she gained national fame on talk shows in 1975, bosomy Latin starlet Charo was 'recognized' by 57 per cent of Levitt's national television sample - and had a 'popularity quotient' of 9 per cent. Today, known by 80 per cent, a figure as high as Clint Eastwood's 80 per cent, Charo's popularity is 8 per cent. 'If she was known by 100 per cent of the world, chances are her popularity might go down to 7 or 6 per cent', Levitt says coolly. That paradox makes some performers think twice when invitations to talk shows come in.
Albums
* Cuchi-Cuchi (1977) (with the Salsoul Orchestra)
* Olé Olé (1978) (with the Salsoul Orchestra)
* Bailando con Charo (Dancing with Charo, 1981) (with the Salsoul Orchestra)
* Guitar Passion (1994)
* Blame It on the Macarena (1996)
* Gusto (Pleasure, 1997)
* Charo and Guitar (2005)
* 1976: "La Salsa"
* 1977: "Dance A Little Bit Closer" (US Dance #18)
* 1978: "Mamacita, ¿dónde está Santa Claus? (Mommy, Where's Santa Claus?)"
* 1978: "Olé Olé" (US Dance #36)
* 1979: "Stay With Me" (US Dance #55)
* 1979: "Hot Love"
* 1981: "La Mojada (Wet Back)"
* 2003: "Prisionera De Tu Amor" (with Seductive Souls)
* 2008: "España Cañi" (US Dance #14)
* 2010: "Sexy, sexy"
I Gotta Keep Dancin' by Carrie Lucas (1977)
Carrie Lucas, is a female R&B musician born in Carmel , California . In 1976 she was signed to Soul Train Records. Lucas made six albums over seven years with Soul Train and Solar Records.
"I Gotta Keep Dancing" and "Gotta Get Away From Your Love" were the two hit singles from Lucas's first album, Simply Carrie, released in 1977. "I Gotta Keep Dancing" peaked at number #64 on the Billboard Hot 100 chart in 1977.
Berry Lipman - Sex World 1977
Producer, Arranged By - Bobby Sanders
Vocals - Toni McVey*
Written-By - Frank A. Coe*
BEBU SILVETTI VOYAGE OF NO RETURN
Juan Fernando Silvetti Adorno (27 March 1944 — 5 July 2003), professionally known as Bebu Silvetti or simply Silvetti, was an Argentine pianist, composer, conductor, arranger and record producer. Popularly known for the 1977 instrumental disco hit "Spring Rain", Silvetti was also a successful, Grammy-winning producer for a wide variety of Latin and international music performers.
Biography
Silvetti was born in the city of Quilmes, Argentina, located in the province of Buenos Aires, approximately 17 kilometers from the capital city of Buenos Aires.
He started his piano education at the age of six. During his teenage years he formed his own jazz quartet and a few other musical groups. At 21, Silvetti left Argentina to go to Spain where he stayed a few years working as a pianist at some of the most popular jazz clubs of the time. In the early 1970s he moved to Mexico and started arranging and composing. Upon his return to Spain some years later, he recorded his first album, which contained his hit offering, "Spring Rain." Other albums followed. Silvetti returned to Mexico in the late 1970s, where he continued arranging, composing and producing mostly for other artists. After a stint working in Los_Angeles, California, he eventually settled in Miami, Florida, where he produced, arranged, and composed for a wide variety of Latin and international artists.
During his career, Silvetti worked with performers such as Plácido Domingo, Luis Miguel, Paul Anka, Engelbert Humperdinck, Vicki Carr, Roberto Carlos (singer), Rocío Dúrcal, Rocío Jurado, Jerry Rivera, Tamara, Los Kjarkas, Paul Anka, Daniela Romo, Armando Manzanero, Jose Luis Perales, Daniel Barenboim, Nazareno Andorno, Juan Gabriel, Maggie Carles, Los Nocheros, Marco Antonio Solís, Ricardo Montaner, Paloma San Basilio, Raúl di Blasio and Selena.
Silvetti achieved many successes and accolades throughout his long and prolific career. In 2003, Silvetti was the recipient of the Latin Grammy Award for Producer of the Year for his work on "Hasta Que Vuelvas" by Luis Miguel , "Quién Da un Peso Por Mis Sueños" by Armando Manzanero featuring Alex Lora and the albums Rocío Dúrcal ... En Concierto Inolvidable by Rocío Dúrcal and Suma by Ricardo Montaner. In 2002, he received the Billboard Producer of the Year Award. In 2001, he topped Billboard's year-end "Hot Latin Tracks Producer Chart."
Bebu Silvetti died at his home in Coral Gables, Florida, at the age of 59 from respiratory failure caused by complications from lung cancer treatment. At the time of his death, he reportedly had composed more than 600 songs, over 200 TV and radio commercials, and a number of film and TV soundtracks.
Musical legacy
His hit track "Spring Rain" was remixed by DJ YOSHITAKA for the Japanese music game beatmania IIDX 13 DistorteD. The song name was changed to "Spring Rain (Lluvia de Primavera)" to signify the remix.
"Spring Rain" is sampled throughout the title track of Negativland's album Helter Stupid.
Denki Groove's song "Shangri-La (Y.Sunahara 2009 Remodel)", the ending theme of the 2009 anime series Kūchū Buranko, is based around looped samples of "Spring Rain". Silvetti is credited as a co-writer of the song.
Discography
* World without Words (as Silvetti) (1976)
* The Sensuous Sound of Silvetti: Spring Rain (as Silvetti) (1977)
* Concert from the Stars (as Silvetti) (1978)
* I Love You (as Silvetti) (1980)
* Lluvia de primavera (as Bebu Silvetti) (1994)
* Íntimos (Armando Manzanero and Bebu Silvetti) (2003)
* Boleros eternos (Carlos Greco and Bebu Silvetti) (2006)
Thijs van Leer - Ravel's Bolero (Disco Version)
Thijs van Leer (pronounced: /tɛis vɑn lɪər/; born 31 March 1948, Amsterdam) is a Dutch musician, singer and composer, best known for heading the Dutch progressive rock band, Focus, as primary vocalist, Hammond organ player, and flautist. He also yodels and whistles. In his later years, Van Leer went on to release many solo albums which were also classical music and jazz-based.
Bob Esty Has Worked With Some Diva's Interview by Alan Mercer
All Photos: Alan Mercer
Barbra Streisand, Cher, Donna Summer, Sally Kellerman and even Raquel Welch all want Bob Esty! He is responsible for some of their best music. Originally from Massachusetts, the famed music producer and musician has been an LA fixture for years now.
Growing up, Bob was into music like the piano and the all-male choir. He was the student conductor for the glee club. In high school he became a bass player, took up the bass drum and joined the orchestra. He then joined the Baltimore Box Society and The Lyric Opera Company of Baltimore. Bob attended the Peabody Conservatory for Music where he had enough classical music that was too stuffy. He wanted more musical variety so he moved to New York and wrote for off-Broadway plays while in college. In his New York days he hung out with people like Barry Manilow, Melissa Manchester and Bette Midler.
Mutual manager Stuart Cohen suggested Bob musically direct Sally Kellerman's first tour from Los Angeles. While touring with Sally, Bob performed on 'The Mike Douglas Show,' 'The Tonight Show,' 'Merv Griffin,' and various other popular shows. He commuted back and forth between New York and LA for two years before finally making the decision to live in LA in '75.
Recently he's been going down to Key West, Florida for the past few years working with the Key West Pops Orchestra and the Key West Symphony. Bob says the most memorable experience in the past couple of years was conducting the West Australian Symphony Orchestra with his dear friend and opera star, Julie Migenes.
I remember seeing Bob's name in the credits for all these albums and always thought how lucky and talented he was to work with all these divas. I never expected to know the man, but thanks to Sally Kellerman I do know him and I'm happy to introduce him to all the readers of this blog.
AM: What are you working on today?
BE: I'm working with Scott Snapp, a guy who came into my life about three years ago. I've been helping him with his vocals and his songwriting. He got funding for his new CD and I produced it. We re-arranged all the songs he had written. Basically Scott was open to anything so he would try new things. Now we've been working on his live show based on the CD.
AM: Are you interested in producing more albums again?
BE: Oh yes.
AM: Do you prefer female vocalists?
BE: In a way because I relate to women, but I've produced several guys like 'The Brooklyn Dreams.' When they were on Casablanca they didn't do as well since Casablanca was really just Donna Summer and KISS.
AM: Did you realize Casablanca would be such a big deal?
BE: I didn't know anything about the music business at all. I had never produced anything. I was a keyboard guy.
AM: How did you end up in Los Angeles?
BE: Through Sally Kellerman.
AM: Really!?!
BE: We had the same manager at the time. He managed a lot of cabaret artists.
AM: You are a singer/songwriter yourself. Did you consider having your own performing career?
BE: Yes but I was a duo with Michelle Aller, so I didn't have time. A year into my Casablanca deal I was producing Cher.
AM: So you joined Casablanca when they were on top?
BE: That's right.
AM: How was Neil Bogart to work for?
BE: Delightful. He was the only label president who would play your new projects in his office and dance around. I don't know why he was so lively but he was. He would drop by the studio sometimes and it was always a good time. I learned much later that I was in a bubble and nothing was real.
AM: How did you meet Barbra Streisand?
BE: It was for 'The Main Event.' I didn't want to meet Barbra because no one wants to meet Barbra because she can be so intimidating.
AM: Ultimately you ended up working with her several times.
BE: Yes I did. Paul Jabara drove me to her home in his Lamborghini.
AM: Did Paul Jabara really trap Donna Summer in a bathroom and make her listen to 'Last Dance?'
BE: Yes in Puerto Rico. That was the good part of him. We used to call him the sales man. Just don't have anything to do with him after five. Paul was a genius at recycling his material and once he met Donna Summer he had her doing all his demos, but she never recorded anything of his after 'Last Dance' which bothered him to his dying day.
AM: You produced a couple of albums for him didn't you?
BE: Well one and a half. Half of the first one and all of the second one. He was mad at me by the time his third album came along.
AM: I love the albums you did with Roberta Kelly, especially the Disco Gospel album.
BE: Oh yeah.
AM: Do you know Roberta these days?
BE: I was just in touch with her because of facebook. I haven't seen her since a couple years after 'Gettin' In The Spirit' came out. I love 'Oh Happy Day' and also "Come Go With Me To My Father's House.' It's getting re-released this summer.
AM: Have you lost track of most of the people from that time?
BE: Yes, basically when they started burning my records in stadiums...
AM: How did that feel?
BE: Well it was sort of off putting to say the least. I had visions of Nazi Germany. Basically all the DJ's wanted rock n' roll.
AM: Ultimately they lost because dance music never left.
BE: They didn't like the fact that most of the music was coming from Europe and it wasn't American.
AM: Why was there a video for Cher's 'Hell On Wheels' song? There was no videos at this time.
BE: I don't know why. It was just a promotional tool. It played in clubs. Same as the video for 'It's Raining Men' which was at the beginning of MTV but they wouldn't play it. They wouldn't show race music videos until Michael Jackson.
AM: It seems hard to believe now. You entered Cher's career at a very important time for her. She was on a downturn and you made her relevant and current again. 'Take Me Home' was huge!
BE: Oh yes. Michelle Aller went on the road with her as a back-up singer and became the closest thing to Cher as a friend. They would go walking in West LA. Cher is a lot of fun! I took over the production of the 'Take Me Home' which was originally being produced by Ron Dante.
AM: I didn't know that!
BE: It was a very typical Cher album of the time, but it didn't fit into the Casablanca sound and profile. Neil wanted to bring her back as a Disco Clotheshorse.
AM: Tell me about that album cover. It's one of her most memorable.
BE: Now I understand it, but at the time I said to myself, "Who would take her home?" In the original photo she was painted gold. Then they had to airbrush her skin. The 'all gold' didn't read. In a way the same thing happened with the 'Prisoner' album. We had to add the song 'Prisoner' to justify the album cover.
AM: What about Miss Streisand? Is she fun?
BE: First of all Barbra doesn't understand she has a sense of humor even though she's played comedy all her life, therefore when she says something and people laugh, she says, "Oh is that funny?" And she means it. Cher is a lot more down to earth.
AM: How wonderful to work with all these divas. Another one you've worked with, who isn't really a singer, is Raquel Welch.
BE: Once again Paul Jabara made the deal and almost lost it! He called me and said he was having a meeting with Raquel Welch. He wanted her to do 'This Girl's Back In Town' and initially I thought, "Why!?!"
AM: Did you want to work with her?
BE: I had briefly worked with her in 1975 for a live show. Raquel is very funny. When we were in New York and she was meeting the musicians she arrived in a trench coat and a sweater, a hat and dark sunglasses. She leaned into my ear and said, "Watch this." She takes off all the bulky clothes and shows off her curves and goes over to the guys and says, "Hello, my name is Raquel." She was putting it on. It was very much like Marilyn.
AM: Was there anyone you wouldn't work with?
BE: The biggest name in show business, Frank Sinatra.
AM: Was it offered to you?
BE: Yes but I didn't think he should do a disco album.
AM: What is the best thing about being on facebook for you?
BE: I like people sending me links to music videos of my songs on Youtube. I haven't heard some of those songs in twenty or thirty years.
Monday, February 7, 2011
D.C. LaRue - You Can Always Tell A Lady (By The Company She Keeps)
Download this high quality digital music file of D.C. LaRue's "YOU CAN ALWAYS TELL A LADY" from the soundtrack of the film "THANK GOD IT'S FRIDAY." This track has been mostly un-available over the years since it was never included in the soundtrack album and was only available as the "B" side of the PYRAMID/Canada limited editon "DO ......YOU WANT THE REAL THING?" 12" extended edit vinyl.
http://sendshack.com/link.php
Sunday, February 6, 2011
Lipps Inc - Funky Town (1980)
Lipps Inc. (pronounced like "lip sync") was a studio band that achieved two significant hits, "Funkytown", in 1980 and "Designer Music", in 1981.
The group was formed in Minneapolis, Minnesota by Steven Greenberg, who wrote and produced all of the group's music, and who also played several musical instruments. The lead singer and saxophonist was Cynthia Johnson, and the rest of the group consisted of a changing group of session musicians, including guitarist David Rivkin.
Lipps Inc. released their debut album Mouth to Mouth in late 1979. The second single from this album, "Funkytown", spent four weeks at number one on both the Billboard Hot 100 and on the Hot Dance Music/Club Play charts in the United States and was awarded a platinum record. It reached number two in the United Kingdom and was a hit throughout the world. Their further singles failed to match their initial success (their only other Hot 100 entry was "Rock It", which peaked at #64), however they had more dance hits throughout the 1980s, including "How Long?" (originally a big hit for Ace) in 1981, which reached #4 on the U.S. dance chart. Lipps Inc. released their final full-length album, 4, in 1983.
Doris D & The Pins - Shine Up (1981)
Dutch girl-band Doris D & The Pins with their no.1 single "Shine Up".
With in the Center Doris D(Debbie Jenner)she also was the face of the group Lipps Inc.
Spargo - You And Me (1980)
Spargo is a dutch popgroup,in 1980 they had a big hit with the funky disco track You and Me.
Kelly Marie Feels Like Im in Love
"Feels Like I'm in Love"
Kelly Marie chanced across the song "Feels Like I'm in Love" in a music publishing office: Ray Dorset had written the song in 1977 in hopes of having Elvis Presley record it: it's unclear if the song was ever pitched to Presley before his death that year. Dorset's group Mungo Jerry did record the song but their version was relegated to the B-side of a single.Kelly Marie and Peter Yellowstone—who had co-written her hits with Mike Tinsley—saw the potential of the song as a follow-up to "Make Love to Me" and Kelly's recording of "Feels Like I'm in Love" returned her to the Top 10 in South Africa (#7) in November 1979.
Like all of Kelly Marie's recordings to that date, "Feels Like I'm in Love" failed to become a hit in the UK, but it did become a popular disco item first in Scotland and eventually all over Britain. The track's prolonged popularity in the clubs led Pye to re-release the song in the summer of 1980, after a #61 debut on the chart dated 2 August "Feels Like I'm in Love" entered the Top Ten 23 August and spent the weeks of 13th and 20 September at #1. "Feels Like I'm in Love" was the UK's #3 hit for the year, with sales in excess of one million copies: the track also enjoyed international success with chart rankings of #6 in Austria, 2# in Belgium, #6 in Australia, #5 in Germany, #3 in the Netherlands and #3 in Ireland. In addition the track reached #10 on the U.S. dance charts in 1981.
Nolans - I'm in The Mood For Dancing
The Nolans were an Irish all-female band consisting of a group of sisters. The group, best-known for their song "I'm In the Mood for Dancing", gained prominence as guest performers on numerous television shows in the United Kingdom. The majority of their charted singles and albums occurred in the early 1980s but they continued to be active until 2005 and were particularly successful in Japan. The sisters have pursued varying solo careers in acting, music and television presenting.
At the end of 1979, the group released the disco-flavoured single "I'm In the Mood for Dancing", which became their best-known tune and biggest hit. It reached Nº3 in the UK, Nº2 in their native Ireland and Nº1 in Japan, a rare event for a Western act; the single eventually sold more than 600,000 copies in Japan. The song, like the majority of The Nolans' hit singles, was written by Ben Findon, Mike Myers and Robert Puzey.
Liquid Gold - Dance Yourself Dizzy
Liquid Gold was an English disco group from Brackley in Northamptonshire, United Kingdom.
Liquid Gold was formed by Ray Knott and Ellie Hope, who had met auditioning to play in Babe Ruth, a group that released four albums between 1972 and 1975. Both of them worked on the band's last album, Kid Stuff. They then recruited Wally Rothe (who is currently in a relationship with Loose Women presenter Jane McDonald) and Syd Twynham under the name Dream Coupe; after a few shows they signed to Creole Records, a Polo Records subsidiary, and changed their name to Liquid Gold.
Their first single, "Anyway You Do It", was released in October 1978. It narrowly missed the UK Top 40, peaking at No41, but resulted in their being transferred to Polo for their next release, "My Baby's Baby". A remixed version of the song was concurrently released by Parachute Records in the U.S. and became a hit, reaching #5 on the US Club Play charts and #45 on the Billboard Hot 100 in 1979. Despite their success in America, however, they never toured the U.S..
In England, their next single was "Mr. Groovy", which did not chart; it was quickly followed with "Dance Yourself Dizzy", which became their biggest English hit, peaking at #2 on the UK charts in 1980. The song also reached #26 on the U.S. Club Play charts.Their next single, "Substitute", also went Top Ten in England, reaching #8 in the summer of 1980; their final UK Top 40 entry was "The Night, the Wine, and the Roses", which hit #32 late in the year.
In March 1981, the single "Don't Panic" was released and was also entered into the UK "Song For Europe" contest to pick the UK's entry for Eurovision that year. The song did not gain enough votes to win. 1982 saw the release of the singles "Where Did We Go Wrong" and "Turn the Table". In 1983, Rothe quit the band, and Twynham left soon after. With the slimmer lineup they released one final single that year, "What's She Got". They disbanded shortly afterward.
All songs produced, arranged, written, and engineered by Adrian Baker
"Synth and Strings", a 1999 chart hit by Yomanda was based around a sample from "Dance Yourself Dizzy".
In 2008 "Dance Yourself Dizzy" remixes were released on 12" single with bonus cd, and digital download.
Members
* Wally Rothe, otherwise known as Eddie Rothe - drums
* Ray Knott - bass
* Syd Twynham - guitar
* Ellie Hope - vocals
Yvonne Elliman,If I Cant Have You
Origins
"If I Can't Have You" was intended to be included in the follow-up album to Children of the World (1976), but was given to Yvonne Elliman when the Bee Gees became involved in the production of the movie Saturday Night Fever (1977) whose soundtrack featured the song. The original intent was that the Bee Gees contribute "How Deep is Your Love" for Elliman to sing in Saturday Night Fever but ultimately the Bee Gees recorded that song themselves while Elliman recorded "If I Can't Have You". Elliman's version became an international smash hit, and reached number one on the Billboard Hot 100, and #4 in the UK. It was the fourth consecutive US #1 to be co-written by Barry Gibb, and the sixth consecutive to be released on the RSO record label. The Bee Gees' version was released as the B-side to the single "Stayin' Alive" in 1978 and also appeared in the 2001 compilation Bee Gees Their Greatest Hits: The Record.A remixed version of The Bee Gees recording was released on the remastered version of Bee Gees Greatest in 2007 and marked the return of The Bee Gees to the US Hot Dance Tracks charts after 28 years.
The song was covered in 1993 by British singer Kim Wilde and recorded as one of two new tracks on her compilation album The Singles Collection 1981-1993.
The single reached #12 in the UK, though was never released in the US. It became Wilde's biggest hit of the 1990s (with the possible exception of 1992's "Love Is Holy") and one of the biggest hits of her career in Australia, where it reached #3.
It was released in several extended remixes on the 12" and CD-single formats. The B-side was an exclusive non-album track called "Never Felt So Alive".
Third World,Now that we Found Love 1978
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