Pattie Brooks' ("After Dark") is ready to release her new single, "It's All About The Music" - BIG TIME BEATS and RETURN OF "Our Miss Brooks"!
Check out Nu & Improved Records Website for more information and ordering links - the label was created by the legendary producer, Rick Gianatos - who is making dance music come alive even today!
Go to http://www.nuandimprovedrecords.com/ (CLICK HERE)
Watch for Pattie's full video release - IT IS HOT!
Rick Gianatos can be found at: http://www.rickgianatos.com
Kebekelektrik was originally thought of as "Quebec Electric" -- a studio concept from Gino Soccio and Pat Deserio in 1977. The track "Magic Fly" being one of the first releases from the LP -- written by Ecama and being one of the innovative instrumentals of the late 70s.
I have taken the track and paired it up with the 1958 science fiction/horror flick, "The Fly" starring David Hedison, Patricia Owens and Vincent Price. It is one of the most terrifying films of the 50s. The "magic" of Kebekelektrik and the film speak for themselves.
The film was directed by Kurt Neumann
Featuring scenes from "The Fly" -- RENT THE DVD! Disco Video Mix by Glenn Rivera Produced by Ken Emmons
Gloria Gaynor, the first Queen of Disco, talks to Bernie of DiscoMusic.com. From her early days right on up to her newest Logic/BMG release Gloria talks about her singing career.
Written By Bernard Lopez of DiscoMusic.com
The following is an interview with Gloria Gaynor conducted on Aug 30, 2002.
Gloria Gaynor and her music continue to thrill fans everywhere as evidenced by the following: It's a rainy night as we get out of the car and make our way over to the entrance of a local club hosting a Disco music retro night. Once inside the sounds of today's House music seem to come from everywhere and we're saying to ourselves, "where's the Disco music?" "Where's everybody?" Turns out that the main dance floor-featuring Disco was in a larger room further back. When we make our way over we discover that the place is packed-all two floors worth. Everyone is on the floor dancing to the DJ's mix of Disco classics. Some are doing the Hustle while others are freestyling and then the piano intro to Gloria Gaynor's "I Will Survive" comes on and everybody starts to cheer and yell. Hundreds of partygoers start singing in unison to Gloria Gaynor's lyrics while throwing their hands in the air and having a great time.
It was a sight that had to be seen and one that I mentioned to Ms Gaynor during our interview for this article. She was laughing as I told her the story and also very humble about the whole thing. Gloria Gaynor tells me that it's not unusual for people to react that way when she performs "I Will Survive" on stage. She says, "'I Will Survive' is a very empowering song and one that many can relate to." In fact the song was born out of Ms Gaynor's struggle to do just that after having an accident on stage in 1978. Critics and others in the music business were heard saying, "The Queen of Disco is dead." Well, here we are in the 21st century just a few days away from Gloria Gaynor's newest album release "I Wish You Love" on Logic/BMG Records. She has proven that she indeed has survived.
Gloria Gaynor's Beginnings
Gloria Gaynor was born on Sept. 7, 1949 in Newark, New Jersey which is just a twenty-minute train ride from New York City. In fact, it's this proximity to New York that Gloria says helped her singing career. When asked what she wanted to be as a child she replied, "a singer or teacher." She tells a story of how a five year-old boy told her that she had changed his life because she had taught him how to write his name-this was when she was only seven. Teaching however eventually gave way to singing a year after high school when she joined the Soul Messengers in 1965 and that culminated with her being discovered in a club on New York's 45th Street called The Wagon Wheel. There she would do four or five sets a night of about forty minutes apiece singing everything from Soul and R & B to Broadway material like "The Impossible Dream." A producer from Columbia Records caught one of her shows and a meeting was soon arranged for her to meet the label's president.
Gloria Gaynor, Clive Davis and Columbia Records
Gloria Gaynor would be signed by Clive Davis to the Columbia label where she recorded "Honey Bee' which many would later term, "the Disco national anthem." Davis ended up leaving Columbia, but Gaynor's contract was not up yet and now no one at Columbia was interested in taking up a project that had been started by someone else. Gaynor says, "Bruce Greenberg from MGM heard 'Honey Bee.' He liked the song and he liked my voice so he bought my contract from Columbia. That's how I made it to MGM Records." Polydor Records soon bought MGM, which is where she stayed for some of her greatest hits.
Tom Moulton, Meco Monardo and Never Can Say Goodbye
Gloria Gaynor's first album with MGM / Polydor was 1974's "Never Can Say Goodbye" which included her first song "Honey Bee." The title cut was a remake of the Jackson 5's "Never Can Say Goodbye" and became the very first number one song on the Billboard Disco Action Charts when it first was published in 1975. The album was produced by Meco Monardo of Disco Corporation of America (DCA). He had also produced for Carol Douglas and Don Downing during this time. I asked Gaynor how Meco became her producer and she replies, "Meco Monardo was partners with my then manager, Jay Ellis. Harold Wheeler and Tony Bongiovi also with Meco, were other producers we used." She goes on to say, "I thought Meco was a great producer because the way that he produced is a little bit different than the way they produce now. The first thing that he would do was record a rhythm section-just the basic guitar, bass, drum and keyboards and then he would bring me in for what they called a 'scratch vocal.' He would have the background done around what I had intended to sing so they wouldn't be in my way and then he would bring me back in to do the complete vocals. He then would do what they called 'sweetening' with the horns and strings that complimented everything else." From her descriptions it was obvious that the recording session was a very time consuming endeavor, but well worth the extra effort.
Being that she began her career in the Disco realm I asked Gloria Gaynor if she considered herself a Disco singer and the response I got was, "I never considered myself a Disco artist. I considered myself a singer who had gotten her success by using Disco music as a medium-as a genre at the time. I never considered myself really a Disco singer because my records always had several rhythm and blues, Disco-of course, but I always did ballads as well. And as I was only singing to a rhythm section and all that other stuff was around me-I was a singer who sang with Disco music-was accompanied by Disco music."
As we continue talking about "Never Can Say Goodbye" Gaynor says that she along with Meco came up with the idea of the continuous segue between "Never Can Say Goodbye, Reach out I'll Be There, Honey Bee" during a brainstorming session. She doesn't remember now who first came up with it, but they both agreed and it was given to the great Disco remixer Tom Moulton. Tom was responsible for making the concept work and it became a Disco classic at almost nineteen minutes in length. Gaynor's reasoning for the continuous flow of music was that she loved to dance, but hated to be restrained by a three and a half-minute format. She also added that it gave the DJ a chance to get out of his cubicle to which we both laughed. Other tracks from the Meco years included "Casanova Brown" which was hugely popular.
Gloria Gaynor and I Will Survive
Despite the fact that Meco produced her first three albums which included "Never Can Say Goodbye," "Experience Gloria Gaynor" and "I've Got You." Gaynor subsequently had her next albums produced by Dino Fekaris. This was firstly because Gaynor left her management, who were partners with Meco and secondly due to Polydor and her new management's decision to go with Dino. This new venture was to yield the Grammy winning 1978 Disco classic "I Will Survive" (Polydor PDD-504) which was written by Freddie Perren of Grand Slam Productions.
What some may not know is that "I Will Survive" was the "B" side to a more pop sounding song called "Substitute." Gaynor explains that the head of Polydor thought "Substitute" would receive more radio and club play and despite her and her husband's objection no one else at Polydor wanted to go against the boss. Not only did Gloria Gaynor and her husband know that "I Will Survive" was going to be a hit song, but they knew that everyone was going to be able to relate to it and felt it had "timeless" lyrics. They wanted "I Will Survive" for the "A" side, but since they couldn't convince Polydor of that, Gloria and her husband decided to put it in her live shows as the last song so that everyone would remember it. They also took copies of the record and brought it to such notable New York DJs as Richie Kazar of Studio 54 who immediately loved and played it to a packed dance floor. Richie in turn passed it on to other club DJs and it eventually wound up being played on New York's most popular Disco radio station, WKTU which was then known as "Disco 92."
It's important to note that just before "I Will Survive" was recorded, Gloria Gaynor had suffered a very serious fall on stage. She woke up the next morning in the hospital to discover that she was paralyzed from the waist down. The accident almost left her permanently paralyzed. She told me that in order to record and perform she had to wear a brace after much surgery which made it very painful to walk let alone perform. During this time Gaynor explains, "I began to have a spiritual awakening and decided that I wanted to have more purpose to my singing than people just having a good time. Not that there was anything wrong with people having a good time-and I still want people to have a good time with my music, but I wanted something they could take away from the clubs with them That's why I chose "I Will Survive" and I wanted to continue as often as possible to give them songs that would have positive impact on their lives."
It is also at this time that some were heralding the death of her career with lines such as "the queen of Disco is dead." She says, "There were so many people saying the queen is dead Saying that I was never going to make it, I was never going to come back into the business and that it was all over for me and they made me determined that it was not going to happen to me." I asked Gaynor if anyone in the music industry helped and she emphatically states, "No, it was just me, my family and my husband who was just my boyfriend at the time and my faith." It was at this time that Gaynor also married her present husband just after the release of "I Will Survive" in October of 1978. The empowering lyrics in "I Will Survive" were very fitting indeed and a theme she stays with till this day. Another standout cut from the Fekaris and Perren partnership was the single "Anybody Wanna Party" (PDD-507) from the 1978 album "Love Tracks."
Gloria Gaynor's New Direction
In 1981 the production team of Gene McFadden and John Whitehead of "Ain't No Stopping Us Now" fame took Gloria Gaynor in a new direction on the "I Kinda Like Me" album for Polydor. With the so-called Disco backlash, Gaynor was returning to a more R & B and pop radio sound and hoping to have more crossover appeal. The single from this album was "Let's Mend What's Been Broken" (Polydor PDD-517 DJ), but it didn't really make any lasting impressions on the dancing public.
Still in the empowering mode, Gloria Gaynor signed to Silver Blue Records in 1983, which ironically was a subsidiary of her first label, Columbia Records/CBS. While there she teamed up with producer Joel Diamond and released the album "I Am Gloria" containing the singles "I Am What I Am" which was the hit from the Broadway musical "La Cage Aux Folles" and "Strive." "I Am Gloria" was her last U. S. release until 1996. After this release the Disco backlash was in full effect in the U. S. so Gaynor started spending a lot of time in Europe both performing and recording as many as eight albums. For whatever reason the records were not released in the United States so many of her fans lost track of her. Since Polydor didn't want to release a "best of" compilation she decided to release an album called "I'll Be There" in 1996 which consisted of remakes of some of her greatest songs. No sooner did they put this out that Polydor finally released a Gloria Gaynor greatest hits compact disc, but without her knowledge. In fact she tells me that it was a friend of hers who discovered the Polydor CD while shopping one day. Gaynor says, "Polydor released that 'Best of Gloria Gaynor' CD and that really infuriated me. Number one: they didn't really promote it at all and number two: they released it at the same time that Diana Ross' 'I Will Survive' was released and on MY best of Gloria Gaynor was a SLAMMING version of 'Stop In the Name of Love.' Can you imagine without my ever saying a word-without Diana Ross ever saying a word what a field day DJs would have had with that? How could they (Polydor) just put it out there? Nobody knows that. I didn't even know about it. A friend called me and told me she was in the store buying albums and there it was.
Gloria Gaynor In the New Millennium
We move forward a few years to 2000 when Gaynor was in Germany doing some vocal work when Logic Records got a whiff of it. It turns out that the king of Electronic Disco, Giorgio Moroder was also working on an album of older material and they wanted to have a well-known Disco artist putting the finishing vocal touches on it to make it new material. Gloria Gaynor did the vocals for one of the tracks called "The Last Night' and when Logic/BMG heard it they said, "she still has it." That ultimately led to her covering Tata Vega's 1979 hit "Just Keep Thinking About You." On the strength of that one single Logic and BMG committed to releasing Gaynor's first new U. S. album in fifteen years called "I Wish You Love" which will hit the streets on September 10, 2002. Already it is receiving a lot of airplay on New York radio as well as the clubs. Gaynor has managed to keep her voice and fine tune it to today's dance audience. It appears as though a new generation of listeners will become acquainted with Gloria Gaynor's repertoire. Gaynor states that she felt confident with the direction her new producers were taking her. She believes with all her heart that her new single will become a hit if given the proper airplay.
Seeing as we are talking about her current release we delve into today's music. Gaynor's take on it is that "it's like every other music from every other time-it's indicative of the time. A lot of it is disposable a lot of it is good it's all a sign of the times. Everything today is not garbage-the public is not completely stupid. And although they only get to chose from what they are given they still know what's good and what's not." Wrapping things up I asked Gaynor what were her musical influences and she mentions: Nat King Cole, Ella Fitzgerald, Frank Sinatra, Marvin Gaye, Sarah Vaughn, Barbra Streisand. Gaynor attributes many of the older artists to her parent's influence whereas Streisand and Gaye were from herself. As for current artists, she says that she enjoys a lot of Gospel music (Mary-Mary, Faith Evans), but also listens to a lot of Whitney Houston, Mariah Carey, Alicia Keys and many others. As far as her favourite songs of all time she tells me that for dancing it's "Brick House" by The Commodores and to perform is "I Will Survive."
Gloria Gaynor's message to all her longtime fans at DiscoMusic.com is, "Thank you for hanging in there and I am back!" I'd like to thank Gloria Gaynor for taking time out of her busy schedule to speak with me. We wish her the best with the new album "I Wish You Love."
Interview with Carol Williams who is best remembered for her SalSoul Disco hit, "More," which was produced by Vincent Montana Jr. The following is an interview with singer Carol Williams kindly conducted and provided by DiscoMusic.com member, Dayna Newman.
Hi Carol.. You were the first female artist signed to the Salsoul label. That's quite a milestone in disco history. Disco was in it's early stages at this time as well. Did you have any idea that Disco was going to blow up like it did? And how did the whole Disco explosion affect you?
Carol Williams...
I had no idea that Disco would take off the way it did, it hit so fast... I mean you could work anywhere and everywhere sometimes doing 2 and 3 gigs a night, and it was wonderful. My song "More" from Lectric Lady was the first 12 inch ever to be sold to the public; the second was Ten Percent by Double Exposure. Of course the DJ's had access to them but this was the first time the 12 inch was available for public distribution.
WOW! That was another milestone, you were quite the innovator Miss Carol~!! Very impressive. How was it working with producer Vincent Montana Jr.?
Carol Williams...
He was the easiest going producer I have ever worked with. He let me do my thing, I had creative freedom with him, it was great.
Is there a city or venue that you held a special place in your heart, or you just liked the energy?
Carol Williams...
I would have to say Toronto Canada; they were into Disco before the States. And of course New York, Studio 54, Zanzabar, The Garage and a club called New York, New York. I remember working a show at New York, New York with Luther Vandross and Gwen McCrae. It would be so packed that it would take like 40 minutes to get from the dressing room to the stage. I remember thinking am I ever going to get there!!! "Laughing"
I know you have toured with a lot of other talented artists, can you tell me which you had the most fun touring with?
Carol Williams...
I used to love watching Loleatta Holloway, she was so much fun and that was really the only chance I had to see her perform because I was so busy myself. Then there was Sharon Brown, Claudja Barry, Carol Douglas, The Salsoul Orchestra of course. The Trammps, Tavares... There were so many. Gloria Gaynor and I are good friends, but we never worked together. She's a wonderful entertainer.. I have opened for James Brown, Ray Charles and Dizzy Gillespie. They were all wonderful to work with and so talented!
How exciting, so much talent. You really did work with the best. I know you wrote some songs for Lectric Lady. What songs did you write?
Carol Williams...
Your So Much a Part Of Me, My Time Of Need and Come Back.
How was it doing an album with Tony Valor?
Carol Williams...
Tony let me write everything I wanted to. It was very rewarding.
I love the funky R & B feel to "Can't Get Away" That's the song that got you booked into Paradise Garage. What did you think of Larry Levan?
Carol Williams...
Larry Levan was an unbelievable DJ. He was way ahead of his time and could work the crowd like they were his puppets.
AMEN Sister... Larry Levan could do no wrong in my book..
Miss Carol what can we expect from you in the future, any projects in the works?
Carol Williams...
My wheels are always turning. and I'm working on a few things. You haven't heard the last of me!
I would hope not, you have too much talent to waste. I'm trying to get you ladies down here to Florida to do a Diva revue. I'm working on it, I'm just waiting on the venues to take their thumbs out of there behinds and put their money where their mouth is~!!! I love Ron Richardson to death, "Your Manager" he has a lot of talent within his grasp. Is he always so sweet and so personable?
Carol Williams...
Ron is the kind of person that when you meet him it's like you have known him forever, he's a wonderful man. And manager, he works hard.
That's a very accurate description I think the world of him. Carol you told me that when you were a little girl you knew you were going to be an entertainer. Its as if the spotlight were waiting for you to grow up so it could shine on you. Thank you so much for granting me access into your world. You are a true lady and great talent. I will talk to you soon Love Dayna
Candi Staton, the multi talented Disco and R & singer, of Young Hearts Run Free fame is interviewed by DiscoMusic.com member, Dayna Newman. Candi Staton interview conducted and provided by DiscoMusic.com member, Dayna Newman.
Hi Candi, I want to thank you for giving me some of your time today for this interview and happy belated birthday by the way.
Candi Staton...
Oh, thank you so much. It was a wonderful day. Each day is such a blessing you know girl.
I know that's right. Okay Candi, Who dubbed you The First Lady of Southern Soul.
Candi Staton...
Bill Carpenter did, he gave me that honor.
OK, I'm going to be asking you about him in just a minute. I wanted to tell you how much I enjoy your version of Stand by Your Man and I wondered if you had ever met Tammy Wynette?
Candi Staton...
No, I never got to meet Tammy, I would have loved to have met her though.
How did you meet Dave Crawford, and was it an immediate connection or one that built with time?
Candi Staton...
No, I met David Crawford years before we worked together. I used to go over to his studio when he was here. He invited me over to his studio one time and I watched him work. He came up with a couple of songs and he sat down at the piano and I sung for him and he said we gotta get you on that microphone.
He wasn't wrong that's for sure (both laughing).
Candi Staton...
I said David, I love your cord changes I love the way you arrange... I love the way you write, but at that particular time it wasn't quite the right time and wouldn't be till several years later. He didn't cut it with Warner Brothers.
Well music was changing, it was going into Disco and he was still southern soul. He was still the southern soul guy, they were changing the music and he came to them with an album that was the same old southern sound and they didn't want it, I mean it sold like thirty thousand copies, which was still good because they got their money back.
He also signed a contract stating that if this record didn't do as well as they expected it to do that I would sign and be solely a Warner Brothers artist and Fame Records would let go of me completely.
The first thing that we did, I don't know how they got in touch with David, but I think David was doing some stuff with someone else at Warner Brothers and they asked David if he would be interested in doing a record with me and David said, WOULD I? You've got to be kidding? Of course I would.
So that's how we came to be and he came up with Young Hearts Run Free in that particular session.
How was it working with Ray Parker Jr?
Candi Staton...
It was absolutely wonderful. This was before Ray became a big star. I loved his positive mental attitude even though at that particular time I was thinking "yeah right." He use to walk into the studio with his guitar and he would be dancing around.
He was fine too girl, Right? This is off the record, No I'm going to publish it anyway (both laughing). Candi - Girl Girl! (which is a way of Candi agreeing just by the way she said GIRL!)
Candi Staton...
So he would dance around saying, you're looking at the next superstar and I again was like "right" and saying in my mind go on in there boy and play this record, because after all we had hired him (both laughing again).
He kept saying though and about two years later he was the biggest thing out here.
He blew up; I guess he wasn't playing about all that.
Candi Staton...
Right! He was absolutely right.
What about Ollie Brown?
Candi Staton...
Ollie was always a sweetheart. He wasn't as outgoing as Ray Parker, but they were always together, they were like two peas in a pod. They shared an apartment together at the time, they were best friends.
He was such a good drummer; I really enjoyed working with both of them.
This is s question submitted by a member at DiscoMusic.com named Remicks... He wants to know, was your signature UH HUH from a song you performed and you just ran with it or, was it improvised? Because can't nobody throw out an UH HUH like you Miss Candi.
Candi Staton...
(laughing) That's just like my signature like the signature on some Ed Hardy jeans or something. My trademark.
OK! Well that is definitely going to answer his question. I call it a Candi Staton-ism.
I have another question from another DiscoMusic.com member named Zefco, He's so sweet. He wanted me to convey to you that he saw your show in Brighton (UK) about three weeks ago and loved it.
Candi Staton...
Oh tell him I said thank you.
I'll do it. He also wanted to know what you thought of the version of You've Got the Love that's overlaid over Frankie Knuckles: Your Love, which has been a big hit in the UK, when you heard it for the first time?
Candi Staton...
I didn't understand it, it was too house. At that point I was just a southern soul girl coming out of the southern soul thing.
I was used to Disco, Disco's pretty straight forward. House music is a little different... the beats are all mixed up. You have to listen very carefully to find what beat you're really on...
Yes because alot of Disco is basically danceable R&B and soul.
Candi Staton...
It is, yes. The foot, the bass drum foot is what basically drives Disco, with house instead of the bass drum foot doing everything it's everything doing everything. You find the beat every once in a while and you kind of have to stick with that.
Essentially I started listening to different versions of it, there's a CD in the UK that has eight different versions on it. Eight different remixes of You've Got the Love. When I started doing the shows and tours we went and picked two of the most popular versions and we kind of mixed them together and we do the straight beat and we start out with the synthesizers. I have a guitar that's absolutely fantastic and Marcus his name is Marcus, that's been with me over there for about four-five years now and he does it perfectly.
The crowd just goes crazy. Does Zef live in Indianapolis?
No, he lives over there (UK).
Candi Staton...
I had a guy who flew from Indianapolis just to see the show, he said no matter where I was next time he was coming to see me...
Girl, I hope you gave him a hug or something. (laughing)
Candi Staton...
Yes, we got him on an interview and my MySpace page.
Zef also wanted to know when you were on stage and you said "you were the real thing. The real voice of southern soul" what that meant and were you saying that someone else wasn't? I don't have to print anything you don't want me to print, you know that.
Candi Staton...
Oh please print it because I want to set the record straight. Some of the press might have gotten it wrong because when I walk on stage I say this song is from the seventies and I tease them and say you guys weren't even here in the seventies. They start laughing and I say, well you don't have to worry about it because your getting the genuine article, your getting the real thing tonight...
When I say that it simply means when I'm on stage you are getting 100% Candi Staton not somebody singing Candi Staton stuff. I wasn't disrespecting anyone, just stating that it was me they were hearing giving my all.
Ok, on to Young Hearts Run Free. What can I say about this song other than it's genius and an anthem to boot. Is it surreal in a way that a song that was written about or inspired by your life is such a phenomenon today?
Candi Staton...
I tell you, we all go through the same things in our lives and they pretty much parallel each other. The same road I walked in, somebody else is going to have to walk in. We all walk that same road. One might have a success here or a dead end here, but basically it's the same road. When generation after generation hears this song they can identify with it. It's just a wonderful song and I was so delighted.
I was so delighted to know that the PPL which is like ASCAP and BMI over here they monitor songs 75 of the most played from the last seventy five years and Young Hearts Run Free is number 33.
Quite an accomplishment. How did you feel about Kim Mayzell covering Young Hearts?
Candi Staton...
They called me first and asked me, we were trying to negotiate. It was for the soundtrack to Romeo and Juliet. We were trying to get some numbers together and before I knew anything they had given it to her.
Nobody can sing that song like you.
Candi Staton...
Nobody's been through it, it's not their life.
Was Victim inspired by events in your life as well?
Candi Staton...
Yes, it was another level of Young Hearts Run Free, just saying it in a different way.
Another DiscoMusic.com member, Cory, wanted me to ask you if you realized just how beautiful the song Run to Me is'?
Candi Staton...
I'm getting alot of people asking me about Run to Me and Honest I Do also. You can't do three hours on stage, so you can't do every song everyone wants to hear.
Girl you would be wore out.
Candi Staton...
They would have to carry me out on a stretcher. (Both laughing)
You have to include some of the new songs that you're trying to push, to sell the records. It's very political.
Let's talk about your rendition of Nights on Broadway if we can, it's such a soulful funky track.
Candi Staton...
That was the song right after Young Hearts Run Free. David was a very temperamental person. Well YHRF was so massive and the album and the popularity was so big that I, you know I don't want to talk about people that have gone on, but the truth is the truth...
He was so angry because he was always a frustrated singer, He wanted to sing himself and he never got the kind of accolades he thought he deserved, but quite honestly he was a great producer and a wonderful writer nobody was really drawn to his voice so after that he refused to do the next album.
We had to go to another producer, Chaka khan's old producer. I can't remember his name right now...
They found him and that's how Nights on Broadway came about. If I had done Victim right after that, it would have been a runaway hit. I would have probably been in the category of say a Tina Turner right now.
another fan favorite is When You Wake Up Tomorrow. Tell me about that project?
Candi Staton...
Oh, we were just hanging out in the hotel room writing songs getting ready for an album... We all came up with that song, The Disco era was at its peak. I was throwing in verses we were trying to keep ourselves in the mix.
So you wrote the song?
Candi Staton...
I helped write it, yes.
Let's talk about the Disco era, I have had the pleasure of interviewing, meeting and being friends with so many wonderful artists from that era. I wondered if there were any artists from that era that you had fond memories of working, performing with or just hanging out with?
Candi Staton...
Gloria Gaynor, Jackie Moore, Denise Williams and Martha Wash. The only one I can think of that I was really close with is Gloria. I was never really girlfriend girl friend with the rest.
LOL! Loleatta Holloway told me she would get her money and come out~! She didn't have time for all that so I hear ya.
Candi Staton...
(laughing) OK, it was like kiss-kiss see ya later girl where you going next? Kind of like on the go conversations we were all so busy, but it was different with Gloria, Gloria came down for my daughter's wedding, she stayed at my house or I stayed at her house.
This is one of my staple questions, but was there any venue that you particularly loved performing at because of the energy level or other reasons?
Candi Staton...
Oh gosh let's see there were so many of them...
There were a bunch of gay clubs I used to go to, they had the highest energy crowds of anyone-girl please. There will never be a dead moment in there.
And the children, as they are so respectively called, LOVE LOVE LOVE the Divas.
Candi Staton...
OOOOH Yes lord, I used to hang out there back in the day even when I wasn't working. They would embrace me, buy me all the drinks I wanted. (both laughing)
One of my friends, Lady Bunny turned me on to your recent track Love Sweet Sound with Groove Armada...
Candi Staton...
Oh yeah, really. You like it?
I love it, it's hot.
Candi Staton...
It's different, it's still selling out there, it's really selling It's got a great beat.
Groove Armada came to see me and asked if I would be interested in doing some songs with them. I said absolutely! I didn't know they were that big until I went to the Love Festival. They have a Love Festival that they do in London every year and boy there was over 30.000 people.
The stages nowadays are very technical, it looks like a studio. So much computer work up there it's so computer driven.
Who were your musical inspirations growing up?
Candi Staton...
Mahalia Jackson, Aretha Franklin, Sam Cooke, Sam Cooke was one of my favorite artists-I Love Sam. Alot of the gospel people as you know I got my start in gospel.
Girl, let me tell you every time I hear your song Mama, It makes me cry. Because ain't nobody gonna love you like your mama. I know I'm not speaking or writing proper English, but saying it this way put's much punch into it. You must really have a very special relationship with your mother.
Candi Staton...
Yes, What really brought us close is what usually tears mother and daughter apart. I got pregnant. I could see all the love of God come through her during my time of need. She didn't kick me out and say you have ruined your life and all that stuff, She sat me down and she said you made a mistake, but you're not the only one who has ever made a mistake.
You go on ahead and have that baby and you get up and you resume your life this is just the beginning of your life your just 18. She said, I love you and hugged me. I cried, we were washing greens that Sunday I never will forget it. I was crying in my greens...
It's going to give them greens some extra flavor girl. (both laughing)
Candi Staton...
She said, your gonna be fine don't let nobody make you feel ashamed. People would blast you, ridicule you and were so hateful. I will never forget her for that.
I know how hateful people can be, but you overcame and look what you have achieved. How spiritually rewarding is it to know that everything that you have tackled you have mastered?
Candi Staton...
You know what, I give all the glory to God. He had to put that inside of me. I don't think there's anything too hard for me to take on and if people don't like it, that's ok as long as I'm satisfied with it and it has fulfilled something inside of me. It's just something that God brings out when you hear the music. A creative feel you get from the music.
Candi again thank you so much it has been an absolute pleasure and so much fun.
The legendary, Tom Moulton worked with Thor Baldursson to create Metropolis in 1978 - it was disco music reaching a full standard in arrangement and execution. The LP featured the well-known ensemble called The Sweethearts Of Sigma (Carla Benson, Evette Benton and Barbra Ingram) - their work has been endless in dance music from backup for Grace Jones to a studio session in Nightlife Unlimited ("Disco Choo Choo") - it was obvious these girls had it "going on".
Their first release from the "The Greatest Show On Earth" was the single "I Love New York" which is a club classic. The title track I have taken into a completely new arena - using scenes from the 1967 film "Berserk" featuring the fabulous, Joan Crawford, Ty Harden, Diana Dors and Judy Geeson. Although the song is a theme based on a broken love I placed it below the mystery of a killer on the loose and the excitement of the circus - which obviously is "The Greatest Show On Earth".
This Disco Video Mix also pays homage to Ms. Joan Crawford and is dedicated to my wonderful friend who shares a parallel for the love of music and film - Loulou from The Netherlands - thank you with much respect and care.
Featuring scenes from "Berserk" - RENT THE DVD! Disco Video Mix by Glenn Rivera Produced and concept by Ken Emmons
George McCrae The following photo and biography was kindly submitted by Mr. George McCrae.
George McCrae Biography
George McCrae is a phenomenon.
The "King." The "Acknowledged Leader" of the soul revolution. George McCrae's talents go much deeper than a flash in the pan-one time super star, his unique style, his universal appeal and his devotion to perfection have placed him in the position of continuing popularity in more then 82 countries for nearly three decade. Talent has taken this popular performer on three world tours with critics raving at every performance and audiences screaming for more.
Since his smash hit "Rock Your Baby" rocketed him to fame in 1974, George has set the music world on fire with hit after hit. Two platinum singles, two platinum LP's and fourteen gold records, top music awards from all over the globe have attested to this amazing vocalist's popularity and talent.
George McCrae, the innovator, spearheaded the whole "Miami Sound" which became the nation's disco taste and the record that set the standard for every other pop recording artist to follow was �Rock Your Baby�. Certainly, the record of 1974 around the world, that one song sold in excess of 52 million copies making it one of the biggest selling pop records in history.
Voted the "No.1 Single of the Year" by Rolling Stone Magazine, Record World, British's Cash Box and the Dutch Music Poll. "Rock Your Baby" remained a number one hit on the charts in more than 82 countries for months.
George received the coveted "Luxembourg Golden Lion Award for outstanding Achievement by a Foreign Artist in Germany, (Frank Sinatra and Kent Lavoie, as Lobo is the only other U.S.A. Recipient of this award). George was a 1974 nominee for the Best Male R & B Vocalist at the prestigious National Academy of Recording Arts and Sciences.
The power of a super hit record to create international stardom for a new artist has never been more evident than in the case of George McCrae.
Born the second oldest of nine children on October 19, 1944 in West Palm Beach, Florida and the son of a retired policeman, George McCrae had his first singing experience in church at the age of six. As a teenager, he sang with the Roosevelt High School Glee Club and eventually formed his own group, the Jivin' Jets, before joining the U.S. Navy in 1963. Back on civie street, four years later, George sang in clubs and lounges around Florida and after seven years of modest musical success and a couple of records, enrolled in college to study law enforcement. However, music was still on his mind and he decided to record "Rock Your Baby" as one last shot. It hit the charts like a tidal wave
The man who zoomed to the top with his simple, sexy, hypnotic rendition knows that one hit, no matter how tremendous, is not the sole basis for a career. Hot on the heels of this phenomenal hit, "I Can't Leave You Alone" and "You Can Have It All" (singles pulled from the LP "Rock Your Baby") sustained George's spot at the top of the international pop charts. No longer categorized as just an R & B act, George continues to break his records successfully with the audiences of Europe and other Countries before they ever cross over to hit the R&B (dance) and Pop charts in North America.
His second hit album entitled "George McCrae" sustained his prominence with blockbusters such as "It's Been So Long" and "I Ain't Lyin" established George as a versatile performer and led to further global tours. Again, in 1979 on the crest of his popular LP "We Did It", George toured Britain, Europe and the Middle East. His other chart smashes include "Sing a Happy Song" and "Honey I".
In 1984, George was back on the music scene with a new sound, from his new LP "One Step Closer" and single of the same name reached the no.1 position contemporary charts in Canada and top 75 charts in England and Holland.
The ball started to roll again, in 1987, George re-recorded "Rock Your Baby" and instantly, he was back in the European dance charts.
Now it all happens again. George has been co-writing and co-producing new music, a platinum sound - the "McCrae sound" the sound that the fans have been begging for - smooth -soulful - sensational. New songs, new records, new sound, with just enough of the original magic to guarantee George McCrae another decade of worldwide stardom.
George McCrae's CD, LP, "With All My Heart" was release in July 1991, on Magnif /Dino label, Germany. The first single, "Breathless", top 20 dance charts, Europe. In 1994, he did it again with his CD, "Do Something" in which the title single went top ten in Belgium, Luxembourg and The Netherlands.
In the year 2003, Georgie boy was back in a recording studio in Tarol, Austria working on his new upcoming CD. The first single from this new endeavor Hold Me In Your Arms has been released in Germany, Austria and Switzerland in November 2003.
In America, Castle Mountain Records will release a three CD package on George McCrae in the spring of 2004 via telemarketing. The first CD in this package will be compiled with George McCraes greatest hits. The other two CDs will consist of all new material plus a sweepstake to win a one-week vacation on the island of Aruba in the Caribbean. See HYPERLINK www.castlemountain.com/ www.castlemountain.com for detail.
Other websites:
georgemccrae.com
georgemccraeamerica.com
Yes! George McCrae does it again.The Disco Pioneer", "The King of Disco Soul Dance Music" .
A big thank you to Mr. McCrae for contacting DiscoMusic.com and supplying us with the above bio.
Interview with recording artist Carol Douglas who is best known for Doctor's Orders and Midnight Love Affair.
Interview with singer Carol Douglas kindly conducted and provided by DiscoMusic.com member, Dayna Newman.
Carol, first off let me apologize for assuming things and not hearing both sides of the story before I spoke or wrote. I have nothing, but the best of wishes for you and Sharon Brown and you know I'm talking about the People's Court dramarama girl.
Carol Douglas...
That's ok baby, I'm not worrying about that I know what really happened and I'm going to tell you right now!
Oh where are my nerve pills when I need them. lol
I think I'm as Janice McClain would say "Smack Dab In The Middle."
Carol Douglas...
L.O.L., ok Darlin' here is the real story, First of all Sharon Brown has issues: in 2003 I was getting ready for the Disco Ball at the Taj Mahal (Atlantic City, NJ) and decided I didn't want to stay with Sharon anymore.
I had only stayed there for about six days anyway, so she was obviously bitter about that situation.
When I went to pick up my belongings she said that it wasn't the right time and gave me some excuse so I never did get them from her. When I went to stay with her the phone was even cut off. I moved in with Sharon in the first place because I was recording in the Bronx and it was so much closer for me, I am not ashamed to say I am a New York City girl.
She even threw away a picture of my mother that you get from the funeral with the bible verses on it. I don't think she knew that she threw it away, but if she would have given it to me when I went to get it that time she wouldn't have misplaced it and threw it away. It was something that was irreplaceable to me.
Here's a quote and PLEASE do quote me on this, If I didn't have another picture of my mother and if I wasn't the lady of class that I am I would have given her a Bed-Stuy A*S Whoopin!!! That's a Brooklyn term.
KA PLUNK......... "I Fainted". "Smelling salts applied". Girllllllllllllllllllllllllll, oh my.
Carol Douglas...
We were going to blend our talent together and try and get something good going because the same person that discovered me discovered Sharon Brown, It was Eddie O'Loughlin. And I was not homeless, I was staying with my hair stylist I had lived at my previous residence for 26 years.
OK I'm going to move us in another direction. Although you have just as much right to say your piece as did Miss Brown.
Carol, what song would you say best represents you as an artist?
Carol Douglas...
I would say "Midnight Love Affair" because it's elegant and sexy, yet very classy.
Yes, that's a lovely song and my favorite of yours second only to "I Fell In Love For The First Time Today". That I personally feel was under rated. You can hear it playing softly in the background right now.
Carol Douglas...
Thank you, that is so sweet. I love that song too.
Out of the producers you have worked with which one was your favorite?
Carol Douglas...
Eddie O'Loughlin of course, John Fitch and Rueben Cross. John and Rueben did Shame for Evelyn "Champagne" King as well.
As much as I love your songs and all the ladies I have interviewed so far "Shame" is my all time favorite Disco song. I can't lie about it.
Oh I would say I loved working with Sylvester, Grace Jones, Keith Harrell, France Joli, Taana Gardner, Carol Williams and so many that I can't name them all but those are my favorites.
It seems like most people loved working with Sylvester, I bet he was a scream to work with and so talented. You were nominated for a Grammy for your album Burnin that's a lovely honor because many disco acts were overlooked at award shows except say someone like Donna Summer.
Carol Douglas...
Yes, I feel very blessed about that I'm proud of that achievement.
Why did you fire your first agent Jay Ellis?
Carol Douglas...
At that time Jay was also managing Gloria and he was pushing her to do shows and he made us like a package deal "If you take Carol you have to take Gloria too" and I didn't care for that so I hired Norby Walters.
I know you were a child star, who are some of the celebrities you worked with?
Carol Douglas...
Oh my I worked with Cicely Tyson, James Earl Jones, Glen Thurman, Gregory Hines and quite a few more.
I LOVE Cicely Tyson she is a fabulous actress and a classy lady.
Where was your favorite place to perform?
Carol Douglas...
Well Studio 54 of course, The Red Parrot, Bonds International... Actually I really love entertaining anywhere, it's a passion. Let me tell you this story.
I love stories. hehe. I'm all ears.
Carol Douglas...
One night Gloria Gaynor and I were both going to perform at 54 and when we came out of our dressing rooms we had the same outfit on, we looked at each other like oh no you don't. But I was going on first so I looked at Gloria as I walked on stage and said I guess you will have to change. We did a television show in Paris one time and she had to know what I was wearing as not to make the same mistake as at Studio 54.
I 'm not going near that one, lol.
Didn't you and Gloria get along with one another?
Carol Douglas...
She doesn't even speak to me. She has parties at her mansion and doesnt invite me. I cant wait to go on Oprah and call it out. I will also call things out when I write my book.
"Fans Self" don't be shamed to call it out baby~!! Everyone else has tell all books, give us some real juicy stuff. Miss Carol. Can you tell us the title of the book?
Carol Douglas...
"Mother Always Knew" The story of the first lady of Disco.
I cant wait to read it as I'm sure the rest of your many fans feel the same way.
I know there has always been a dispute over the first lady of Disco as to whether it's you or Gloria Gaynor, because you ladies started around the same time. Although I think Doctors Orders was the first mega disco hit from the two of you. And both of you ladies are so very talented.
Do you think that might have something to do with the static between the two of you?
.
Carol Douglas...
I have no animosity towards Gloria but I suppose that might be the reason she doesn't speak to me.
Ok lets talk about people you love in the business , who would you say are your best friends in the industry?
Carol Douglas...
Taana Gardner and Carol Williams.
Oh Miss Tanna's my girl and Carol Williams is a doll, you pick lovely friends Carol.
What are you cooking up as far as music goes?
Carol Douglas...
I am remaking Doctor Orders as an R and B song .and a song called "It's Only In My Heart" and I will be performing with the Ink Spots and Full Force and a new artist called Boogs.
Thank you so much Carol you have been so gracious and a pleasure to talk to.
Carol Douglas...
Now I see why everybody wants you to interview them Dayna. Go ahead girl and feel free to call me anytime.
The following is an interview with singer and actress Melba Moore kindly conducted and provided by DiscoMusic.com member, Dayna Newman. This is a phone intreview and will not be VERBATIM
but almost...
Hi Melba, Thank you so much for allowing me to do this interview. I hate stuffy interviews so I'm going to make it fun and informal. I have some of my own questions and some great members of DiscoMusic.com have submitted some as well.
Melba Moore...
Thank you Dayna, That's fine with me.
Ok here we go, were you afraid that doing disco would compromise your Broadway career especially after winning a Tony award?
Melba Moore...
Not At all. If anything it helped it even Ethel Merman did a Disco album.
Broadway always tried to be hip. Basically it was a white bread kind of avenue but they brought in people like Stephanie Mills etc to hip it up to make it enjoyable for a more diverse audience. Basically hard core disco fans were theater fans as well so There was no threat at all.
That's very true, I never really thought about it that way, very good thinking~!!!
You were the first African American woman ever to replace a white woman on Broadway, Diane Keaton you replaced. That's quite an achievement!
Melba Moore...
Yes, Diane Keaton went straight from Hair to Play It Again Sam. "Woody Allen" Broadway actually started from the Jewish community.
I didn't realize that. Do you think being called a disco diva is in anyway restrictive or too boxed seeing that you have been successful in every other aspect of show business you were involved with?
Melba Moore...
NO, it's an honor and I know that disco isn't all I can do so it's not restrictive.
You have been there at the beginning of disco all the way till the end were you coerced into doing disco or was it something you felt passionately about?
Melba Moore...
Disco is still around its just called something else You see artists like Martha Wash, Cheryl Lynn and know the music is still alive.
"You Aint Never Lied~!!" "Both of us laugh"
Melba Moore...
it was about the songs, the material, they were wonderful songs plus you have the remixes the different versions. All my disco songs are well constructed and stand up today, I don't look back and think that's silly or that isn't good so no, I wasn't coerced.
That's the truth; those songs will never be anything but fabulous.
Melba you have worked with a lot of great producers, out of all of them which did you really click with and like working with the best?
Melba Moore...
Jean McFadden, John Whitehead and Paul Lawrence.
Bernie, the publisher of DiscoMusic.com wanted me to ask how you met Paul Lawrence.
Melba Moore...
Freddie Jackson brought Paul to me, he was the best for me like a vocal coach, and he would work with you until you got it right.
The public doesn't know the process it's not like any other business. No one ever thinks about what its like for the artist.
Are you in contact with any of the old Hush production members?
Melba Moore...
Not at all~!! And won't be unless it's in a court of law Charles Huggins and Ann Thomas are white collar criminals "you can quote me on that."
What about Clifton Davis?
Melba Moore...
Same thing as Hush, He has damaged me and never tried to set it right!
I have never gotten any closure. I just continue to rebuild my life despite of the obstacles and keep jumping over the holes that are still there.
GIRL~!! Sorry to hear that, but you are a survivor and it sounds to me like you have your priorities straight and in line. I know you have a very spiritual side and that's wonderful.
Melba Moore...
The Church is a part of me and in everything I do.
What was it like working and recording "Time To Come Home" with Beyonce; Who I think is very talented, but doesn't have your vocal range or polished sound.
Melba Moore...
She can crank things out, she's ridiculously talented has a great work ethic and she's so beautiful and tall she makes everyone else look short and ugly. And Cuba Gooding Jr. was cracking me up when he was acting like he had no rhythm while dancing, Neither of them had any negativity only positive.
Girl he's so cute!
Melba Moore...
Yes he is gorgeous.
One of the DiscoMusic.com members called Remicks would love to know about Van McCoy and if you liked working with him.
Melba Moore...
Very easy to work with, I had to bring his awareness to the fact that he wrote "Lean On Me" because he was so disco oriented and had done some wonderful songs that weren't disco such as ballads.
Do you think today's music is too massed produced and isn't given that personal touch?
Melba Moore...
There is still a lot of great music out there but CEO's of music companies don't have backgrounds in music they have backgrounds in business. So they push music whether its good or not. It's all about who has the money to put behind something be it good or not~!! Plus we have taken music out of schools. We didn't give this to our kids.
I know that's right... Other artists "your peers" have thrown their hats back into the ring so to speak, and while not being very well received by the younger listeners they were well done solid releases I think you sound just as fresh on "My Heart Belongs To You" as you did in the 1970s so any plans for some new R & B or dance material?
Melba Moore...
Yes, I'm going to go to school to learn how to finance because I can do the rest.
Ok., I'm excited as I know everyone else at DiscoMusic.com will be too. So in other words Miss Melba Moore is gonna be Comin Atcha~!!
Melba Moore...
Yes. .something like that "joyful laughter."
Thank you so much Melba you are a delight We will be looking for new projects from you while at the same time enjoying the ones that you have already given us.
When someone mentions GINO SOCCIO to a deejay, his eyes light up. This French Canadian gave us countless nights of spinning magic using his music. Born in Montreal, GINO'S songs gave us energy and thrills. The way his music lent itself for mixing and re-mixing made him very popular, especially with the better deejays who actually knew what they had.
GINO SOCCIO started as a musician, his early work was very impressive, he was KEBEKELETRICK(Quebec electric) who gave us MAGIC FLY and WAR DANCE amongst the more playable tracks.
He started producing, and his first release was a DISCO CLASSIC. A group produced by GINO called WITCH QUEEN released BANG-A-GONG. This was a huge hit, it roared through DISCO dance floors all over the world. I was hooked! Still as a producer, he gave us KAREN SILVER'S HOLD ON I'M COMING! While not a big hit, it was very DISCO, and was played at a lot of urban DISCOS.
Now GINO SOCCIO was ready.He knew exactly what he wanted to do as a soloist.First came a spectacular DISCO CLASSIC that started in GAY clubs and soon found its way into every club in the states, DANCER! The breaks were fantastic to mix in and out from. They also gave a great deejay a lot of room to improve it with their own re-mix versions. DANCER shot right up the charts, and soon was #1.Then came the very European sounding THE VISITORS. Another great mix song, it too, shot up the charts. Finally one of my all-time favorites, the very well received DANCE TO DANCE was released. It came with a few variations on the 12", and gave someone like me an opportunity to show-off. This was a re-mixers delight. Plenty of instrumental tracks lead to a fantastic break. So much one could do with it. It went right to number one. What every release from his first album featured was the euro-sound, and the ability for a excellent deejay to work magic and re-mix to his hearts desire.
His follow-up LP gave us more of the same. S-BEAT was more"New Wave", but still a DISCO sounding record that packed the dance floors. When DISCO-NET re-mixed RHYTHMS OF THE WORLD, more packed dance floors followed. By the time GINO SOCCIO released HEARTBREAKER, we had come to expect DISCO CLASSICS from him. He delivered! SIX songs got charted from his first two albums!
He surprised everyone when his third album was slower, less euro-sounding, more soulful, more like R&B. It didn't have that driving DISCO beat that his first two LP'S produced. I was worried. I was dumb to do that, the first three cuts from his third album did just like the others, they climbed the charts. CLOSER was a slower version of his prior work. It worked, the floors rumbled to GINO. And when TRY IT OUT was released, I went bonkers re-mixing it. I can remember performing various variations with my constant re-mixing. It would drive the dance floor crazy. Everyone wanted my version. I loved the horns on TRY IT OUT, would double-up on them, sent their echoing sounds throughout the song. Finally when HOLD TIGHT was released, it made nine songs charted from three albums. He was a stud this GINO SOCCIO.
His final album wasn't very good, music tastes had changed, and GINO saw the handwriting on the wall. He slowly faded into the background, literally. He became a studio musician and session player again. He has kept a low profile and today lives in Quebec. Maybe one day GINO will surprise us with another DANCE TO DANCE!!
Ultimate is a studio concept band from Juliano Salerni and Casablanca Records from 1978 -- the fusion of the Euro-disco sound with a touch of the magic of Philly. This project was a big part of the disco surge in the late 70s and is a favorite hardcore classic.
"Love Is The Ultimate" is a side-long medley featuring three parts which are neatly rolled into a 12" remix by Howard Merritt.
I have taken the 1987 film "Dirty Dancing" starring Jennifer Grey and Patrick Swayze and transformed the dance sequences and love scenes into a disco extravaganza. The film works quite well with the romantic edge of Euro-disco. There is a bit or eroticism and the sensual aura that disco has always expressed well.
The film was directed by Emile Ardolino
Featuring scenes from "Dirty Dancing" -- RENT THE DVD! Disco Video Mix by Glenn Rivera Produced by Ken Emmons
The following is an interview with Gloria Gaynor conducted on Aug 30, 2002.
It was a sight that had to be seen and one that I mentioned to Ms Gaynor during our interview for this article. She was laughing as I told her the story and also very humble about the whole thing. Gloria Gaynor tells me that it's not unusual for people to react that way when she performs "I Will Survive" on stage. She says, "'I Will Survive' is a very empowering song and one that many can relate to." In fact the song was born out of Ms Gaynor's struggle to do just that after having an accident on stage in 1978. Critics and others in the music business were heard saying, "The Queen of Disco is dead." Well, here we are in the 21st century just a few days away from Gloria Gaynor's newest album release "I Wish You Love" on Logic/BMG Records. She has proven that she indeed has survived. 
Gloria Gaynor was born on Sept. 7, 1949 in Newark, New Jersey which is just a twenty-minute train ride from New York City. In fact, it's this proximity to New York that Gloria says helped her singing career. When asked what she wanted to be as a child she replied, "a singer or teacher." She tells a story of how a five year-old boy told her that she had changed his life because she had taught him how to write his name-this was when she was only seven. Teaching however eventually gave way to singing a year after high school when she joined the Soul Messengers in 1965 and that culminated with her being discovered in a club on New York's 45th Street called The Wagon Wheel. There she would do four or five sets a night of about forty minutes apiece singing everything from Soul and R & B to Broadway material like "The Impossible Dream." A producer from Columbia Records caught one of her shows and a meeting was soon arranged for her to meet the label's president.
Being that she began her career in the Disco realm I asked Gloria Gaynor if she considered herself a Disco singer and the response I got was, "I never considered myself a Disco artist. I considered myself a singer who had gotten her success by using Disco music as a medium-as a genre at the time. I never considered myself really a Disco singer because my records always had several rhythm and blues, Disco-of course, but I always did ballads as well. And as I was only singing to a rhythm section and all that other stuff was around me-I was a singer who sang with Disco music-was accompanied by Disco music."
As we continue talking about "Never Can Say Goodbye" Gaynor says that she along with Meco came up with the idea of the continuous segue between "Never Can Say Goodbye, Reach out I'll Be There, Honey Bee" during a brainstorming session. She doesn't remember now who first came up with it, but they both agreed and it was given to the great Disco remixer Tom Moulton. Tom was responsible for making the concept work and it became a Disco classic at almost nineteen minutes in length. Gaynor's reasoning for the continuous flow of music was that she loved to dance, but hated to be restrained by a three and a half-minute format. She also added that it gave the DJ a chance to get out of his cubicle to which we both laughed. Other tracks from the Meco years included "Casanova Brown" which was hugely popular.
Despite the fact that Meco produced her first three albums which included "Never Can Say Goodbye," "Experience Gloria Gaynor" and "I've Got You." Gaynor subsequently had her next albums produced by Dino Fekaris. This was firstly because Gaynor left her management, who were partners with Meco and secondly due to Polydor and her new management's decision to go with Dino. This new venture was to yield the Grammy winning 1978 Disco classic "I Will Survive" (Polydor PDD-504) which was written by Freddie Perren of Grand Slam Productions. 
It's important to note that just before "I Will Survive" was recorded, Gloria Gaynor had suffered a very serious fall on stage. She woke up the next morning in the hospital to discover that she was paralyzed from the waist down. The accident almost left her permanently paralyzed. She told me that in order to record and perform she had to wear a brace after much surgery which made it very painful to walk let alone perform. During this time Gaynor explains, "I began to have a spiritual awakening and decided that I wanted to have more purpose to my singing than people just having a good time. Not that there was anything wrong with people having a good time-and I still want people to have a good time with my music, but I wanted something they could take away from the clubs with them That's why I chose "I Will Survive" and I wanted to continue as often as possible to give them songs that would have positive impact on their lives." 
In 1981 the production team of Gene McFadden and John Whitehead of "Ain't No Stopping Us Now" fame took Gloria Gaynor in a new direction on the "I Kinda Like Me" album for Polydor. With the so-called Disco backlash, Gaynor was returning to a more R & B and pop radio sound and hoping to have more crossover appeal. The single from this album was "Let's Mend What's Been Broken" (Polydor PDD-517 DJ), but it didn't really make any lasting impressions on the dancing public.
Still in the empowering mode, Gloria Gaynor signed to Silver Blue Records in 1983, which ironically was a subsidiary of her first label, Columbia Records/CBS. While there she teamed up with producer Joel Diamond and released the album "I Am Gloria" containing the singles "I Am What I Am" which was the hit from the Broadway musical "La Cage Aux Folles" and "Strive." "I Am Gloria" was her last U. S. release until 1996. After this release the Disco backlash was in full effect in the U. S. so Gaynor started spending a lot of time in Europe both performing and recording as many as eight albums. For whatever reason the records were not released in the United States so many of her fans lost track of her. Since Polydor didn't want to release a "best of" compilation she decided to release an album called "I'll Be There" in 1996 which consisted of remakes of some of her greatest songs. No sooner did they put this out that Polydor finally released a Gloria Gaynor greatest hits compact disc, but without her knowledge. In fact she tells me that it was a friend of hers who discovered the Polydor CD while shopping one day. Gaynor says, "Polydor released that 'Best of Gloria Gaynor' CD and that really infuriated me. Number one: they didn't really promote it at all and number two: they released it at the same time that Diana Ross' 'I Will Survive' was released and on MY best of Gloria Gaynor was a SLAMMING version of 'Stop In the Name of Love.' Can you imagine without my ever saying a word-without Diana Ross ever saying a word what a field day DJs would have had with that? How could they (Polydor) just put it out there? Nobody knows that. I didn't even know about it. A friend called me and told me she was in the store buying albums and there it was.
We move forward a few years to 2000 when Gaynor was in Germany doing some vocal work when Logic Records got a whiff of it. It turns out that the king of Electronic Disco, Giorgio Moroder was also working on an album of older material and they wanted to have a well-known Disco artist putting the finishing vocal touches on it to make it new material. Gloria Gaynor did the vocals for one of the tracks called "The Last Night' and when Logic/BMG heard it they said, "she still has it." That ultimately led to her covering Tata Vega's 1979 hit "Just Keep Thinking About You." On the strength of that one single Logic and BMG committed to releasing Gaynor's first new U. S. album in fifteen years called "I Wish You Love" which will hit the streets on September 10, 2002. Already it is receiving a lot of airplay on New York radio as well as the clubs. Gaynor has managed to keep her voice and fine tune it to today's dance audience. It appears as though a new generation of listeners will become acquainted with Gloria Gaynor's repertoire. Gaynor states that she felt confident with the direction her new producers were taking her. She believes with all her heart that her new single will become a hit if given the proper airplay.
The following is an interview with singer Carol Williams kindly conducted and provided by DiscoMusic.com member, Dayna Newman.
Candi Staton interview conducted and provided by DiscoMusic.com member, Dayna Newman.
George McCrae The following photo and biography was kindly submitted by Mr. George McCrae.
Carol, first off let me apologize for assuming things and not hearing both sides of the story before I spoke or wrote. I have nothing, but the best of wishes for you and Sharon Brown and you know I'm talking about the People's Court dramarama girl.
The following is an interview with singer and actress Melba Moore kindly conducted and provided by DiscoMusic.com member, Dayna Newman. This is a phone intreview and will not be VERBATIM 
