Disco Diva

REISSUE: "Lady Marmalade" - Glenn Rivera ReStructure Mix - Labelle

2012-02-19T16:17:00.000-08:00

Before I knew that the disco form was being created from soulful and funky elements did this tune creep up and expose not only the funkiest of arrangements, but 3 of the greatest divas of the period: Patti Labelle, Sarah Dash and Nona Hendrix. All encountered here in one the most intense dance moments. My extension is merely to extend the fantastic feel of this cut.

Blue Disease - Glenn Rivera ReStructure Mix - Vivien Vee

2012-02-19T16:14:00.000-08:00

Vivien Vee is a disco star from Italy discovered by Claudio Simonetti and Giancarlo Meo. Her big hit "Give Me A Break" from 1979 helped to bridge the gap from disco music to high energy during the early 80s.

"Blue Disease" is from her LP "With Vivien Vee" from 1983 - a project which features many tracks following the funk/Italo-disco style being modeled after New York disco - much like the sound created by Change. "Blue Disease" is the true essence of the robotic synthesizer sound created by songs like "I Feel Love" by Donna Summer - earlier Vivien followed with the production by Simonetti and Meo on the flip side of "Give Me A Break", a track called "Remember".

I have ReStructured "Blue Disease" using the album version and adding a drop beat to give the song a funky edge and also extending and looping moving parts of the song.

Linda Clifford Asks 'How Long'

2012-02-19T16:07:00.000-08:00

Interview and photos by Alan Mercer,http://amprofile.blogspot.com/

All Photos: Alan Mercer Make-up: Rudy Calvo Hair: Leverne Tate

After being a long-time fan of her music, I met Linda Clifford many years ago and fell in love with her personality! We bonded again more recently when we took these photos a couple of years ago. When I found out that Rick Gianatos was going to release the Phyllis Hyman song 'How Long' as a follow-up to Linda's recent hit 'Baby I'm Yours' I was elated. Being the long-time Linda Clifford fan that I am I decided to call Linda on the phone and ask her about this new release and her recent return to the charts!

Linda Clifford parlayed a jazz background, booming voice, and sassy manner into disco and contemporary R&B stardom in the Seventies and Eighties. A former Miss New York State, she sang with the 'Jerico Jazz Singers' and led her own trio in the '60s before switching to R&B and pop.

She signed with Curtis Mayfield's Curtom label and had her first hit in 1978 with 'Runaway Love,' a song that peaked at number three on the R&B charts. The highly stylized 'If My Friends Could See Me Now' was a club favorite that same year.

Her next hit was the soulful duet with Curtis Mayfield, 'Between You Baby and Me,' in 1979. She continued recording for RSO, Capitol, and Red Label in the Eighties. The song 'He's All I Need' was originally written about Linda and her husband and Linda recorded it in 1982 for her 'I'll Keep On Loving You' album. Whitney Houston had a number one hit with the song in 1992.

Since the early Nineties, Linda Clifford has recorded tracks with various producers including Rick Gianatos and Georgie Porgie.

AM: Linda, your new song 'How Long' is so sensational! I just love it!!! I know you recorded it a little bit ago didn't you?

LC: Yes when you and I did our photo session is when I recorded it. The song was released and it started to do well and then for whatever reason it didn't get the promo it needed. Everybody kept saying how good the song was, so thank goodness Rick decided it was too good a song not to do anything with it.

AM: He was smart to think of re-releasing it.

LC: They started remixing and re-mastering.

AM: I have heard them and they are all sensational.

LC: I just got them and was listening and every mix sounded better than the mix before! I'm just freaked out! I love it!

AM: How did you feel about recording a cover of a Phyllis Hyman song?

LC: I was so excited and happy to do it because Phyllis and I worked together for quite a few years in the clubs. We were regulars at Studio 54. She and I got to be kind of close whenever we'd see each other on the road. I really liked being close to Phyllis and talking with her. When Rick approached me with this idea I thought it would be tremendous to do an homage to Phyllis Hyman.

AM: I like the idea of it being an homage to her.

LC: She did such a great job on her original version and I had to try and follow in her footsteps. I wanted to keep it real like she did. The funny thing is our recording careers started at the same time. I had her very first album and I was singing 'I Don't Want To Lose You' in my show. I just loved her arrangement.

AM: Then it is full circle to be singing her song now.

LC: I think about her every time I sing it. Sometimes it's a little hard. I just think about the happier days and keep going.

AM: You're coming off a big hit!

LC: Isn't that exciting?

AM: How did it feel to be back on top again?

LC: It's amazing to me! I'm so blessed to have met so many wonderful, talented and giving people in this industry, one of whom is Georgie Porgie. He's been around the dance music industry for about seventeen years now with number one hit after number one hit.

AM: How did you meet him?

LC: He was doing a food pantry benefit once a year in Chicago and someone told him to call me and ask me to do the show so he did and I said, "Of course I'll do it." At that time he told me we should do something together one day. I thought it was a great idea and the next thing I know BAM! I got a hit record! He wrote it for me.

AM: You are one of my favorites singers of all time! Your music is timeless. 'I'll Keep On Loving You' is one of the best albums by anyone and it just came out on CD for the first time all remastered.

LC: Isn't that awesome? I could not believe that when that album was originally released they didn't promote it. They just put it on the shelf. There's so many good songs on that album.

AM: It sounds very current today.

LC: Absolutely it does. People ask me how it feels to record a Whitney Houston song and I go, "Yo, wait a minute! That song was written for my husband and I in 1980 by Michael Gore. Actually in a few days it will be our 34th Wedding Anniversary. Gold Legion did a wonderful job putting it on CD and I am grateful to them for doing that!

AM: Do you have any plans to record anything now?

LC: I'm going to lay back and enjoy the holidays unless of course somebody wants to book me! I'm more than willing to fly. I do travel well. I'd love to come to LA because my daughter lives there.

AM: You do have to come to LA again and we have to take new photos.

LC: I promise you the next time I am in LA I will let you know. I would never pass up the opportunity to do a photo shoot with you.

To learn more about Linda Clifford visit her web site http://thelindaclifford.com/ and http://www.lindaclifford.biz/

Need-A-Man Blues - Glenn Rivera ReStructure Mix - Donna Summer

2012-02-16T14:42:00.000-08:00

Donna Summer hit the club hard with her first album "Love To Love You Baby" in 1975 - a said-to-be mimic version of Diana Ross' "Love Hangover" in an extreme package, the title track is a now defined by the success and controversy throughout time.

"Need-A-Man Blues" is a track from the album which is an aphrodisiac to love making from start to finish. One of the 70s themes of the time since Barry White made sensual music himself.

I have taken the album version of "Need-A-Man Blues" and have given it an extended beat intro and added some breaks and effects to bring Donna's sexy panther-like vocals out onto the floor again. The First Lady of Love has always done it for me - now I have done it for her!

For Donna fans everywhere! She still takes the floor hostage!

Have a Great Valentines Day

2012-02-13T15:53:00.001-08:00

Score - Glenn Rivera ReStructure Mix - Carol Lloyd

2012-02-13T13:26:00.000-08:00

Carol Lloyd is a disco artist produced by Bruce Weeden - a songwriter, engineer and guitar player who worked along side Boris Midney on the USA European Connection ("Come Into My Heart/Good Loving") album and also the similar claim-to-the-dance floor group, Ultimate - where most of the studio players take part in both studio projects. Carol is a fierce singer and brings to mind a sassy Melissa Manchester of sorts when you hear the soul and heart of her delivery.

"Score" is from the LP by the same name and features the dreamy sound that Weeden and arranger, Mike Forte created with Juliano Salerni with Ultimate - as a matter a fact the back-up vocalist on this project are the trio from USA European Connection's first two projects. Also featured this album are Marc Paul Simon and iconic percussion by Larry Washington.

I have taken the 12" version of "Score" and recreated a "pep-rally" ReStructure Mix using parts of the song which give it lasting sound both on the dance floor and a toe tapping audio experience. Adding some words of wisdom from a friend at the tail end.

This ReStructure Mix was requested from Nick and Lindsay and is dedicated to their love of great dance music - which keeps me motivated!

REISSUE: "Love Me Tonight (Turn Off The Light)" - Glenn Rivera ReStructu...

2012-02-13T13:25:00.000-08:00

Karen Silver scored high in 1979 with a cover of Sam and Dave's classic soul track, "Hold On I'm Comin'" and "Fake" - with productions by Gino Soccio and John Driscoll these tracks were bound to win on the dance floor.

"Love Me Tonight (Turn Off The Light)" was from the LP "Set Me Free" which also featured her funky single, "Nobody Else". The 12 inch track was 4:00 minutes in length - not long enough for such a powerful and alluring disco number.

Thanks to a request by Michael Zamora, this cut is ReStructured and now sports a few extra features.

Can't Live Without Your Love - Glenn Rivera ReStructure Mix - Suzy Q

2012-02-13T13:24:00.000-08:00

Whats started as a studio project for disco producer Jerry Cucuzzella and diva, Carol Jiani and the single "Get On Up And Do It Again" later became one of Canada's big disco artists.

Suzy Q was officially an artists in 1981 with the release of the first featuring the funky-sleaze title single "Get On Up And Do It Again" - but minus the 12" singles vocals by Carol Jiani - the project credits Michelle Mills with vocals. There are many singles following this period and a second LP. It was during 1986 when high energy was solid in clubs and the single "Can't Live Without Your Love" was released in Canada under 'Suzy Q' and in USA as 'Suzy'.

I have taken the original import 12" single 'extended version' and transformed it into a bits-and-pieces ReStructure Mix using the fabulous dreamy vocals and the strong percussion base. It has been a favorite of mine and I know of many crowded dance floors! This re-visit to the energy and beauty of it's flow was a pleasure to resolve.

Sylvester,I who have Nothing 1979

2011-12-17T13:46:00.000-08:00

"I (Who Have Nothing)" (sometimes billed as "I Who Have Nothing") is a song originally released in English by Ben E. King in 1963.

"I (Who Have Nothing)" is based on the Italian song "Uno Dei Tanti," (English: "One of Many") with music by Carlo Donida and lyrics by Giulio "Mogol" Rapetti. "Uno Dei Tanti" was released by Joe Sentieri in 1961. The English lyrics for "I (Who Have Nothing)" were written by Jerry Leiber and Mike Stoller, who also produced the Ben E. King record using the backing track from Joe Sentieri's record. Some critics believe that part of this song's melody was later copied for "Nights in White Satin," released by the Moody Blues in 1967.

The song was included in the musical revue "Smokey Joe's Cafe".

Versions

The original English Ben E. King version was released in 1963 and reached #29 on the Billboard charts. Other versions which reached the Billboard charts were performed by Terry Knight and the Pack in 1966 (#46), by Liquid Smoke in 1970 (#82), by Warhorse in 1972 and by Sylvester in 1979 (#46). The most popular version in the US was by Tom Jones, peaking at #14 in 1970.
Shirley Bassey released the song (produced by George Martin) in September 1963, reaching #6 on the UK charts. She performs the song at almost every live concert she gives, and it is on many of her compilation albums, including I Am What I Am with the London Symphony Orchestra, and her 1989 album La Mujer where she sings it in Spanish ("Hoy No Tengo Nada"). She has also been instrumental in making Donida's music known to English speaking audiences through arranging for translations from the Italian, having performed with the composer conducting his own music on Italian television.
Other versions of "I (Who Have Nothing)" have been recorded by Tom Jones, Petula Clark, Al Kooper, The Spectres, who later became Status Quo, Roberta Flack & Donny Hathaway, Sylvester, Jedi Mind Tricks, Hodges, James & Smith, Luther Vandross & Martha Wash, Liza Minnelli, Brook Benton, Neil Diamond, Joe Cocker, Normie Rowe, Katherine Jenkins, Linda Jones, Little Milton, Manfred Mann's Earth Band, Sam Sorono (1950-2008), Ukulele Orchestra of Great Britain, Warhorse and Vassilikos from Raining Pleasure.
Recent interpretations include those by American Idol winner Jordin Sparks, Nikki Kerkhof, the winner of Idols 4, the Dutch version of Pop Idol, and Irish auditionee on The X Factor UK Mary Byrne.
Jordin Sparks sang the song during British Invasion Week on the sixth season of American Idol. A studio recording of her performance reached #74 on the Billboard Hot 100 following her win.
Haley Reinhart also sang it on season ten of American Idol in the Top 4 round, receiving a standing ovation from the judges and instant critical acclaim from critics and audiences alike.

Sylvester James (September 6, 1947 – December 16, 1988), better known as Sylvester, was an American disco and soul singer, and a drag performer. Sylvester was sometimes known as the "Queen of Disco," although this moniker has also been bestowed on some of the women of the disco era (i.e. Gloria Gaynor, Donna Summer). His most significant works are the songs "You Make Me Feel (Mighty Real)", "Dance (Disco Heat)" (both 1978) and "Do You Wanna Funk" (1982).

Early life

Sylvester James was born in Los Angeles, California, into a low-income family, and he was raised by his mother, Letha. According to TV One's Unsung, he lived in a tiny two-room house, where he and his brother shared a bunk bed. He was the oldest of six children. His father was not in his family's life. Many of the facts of his early life are uncertain, and birth dates from 1944 to 1948 have surfaced. One thing is certain though: Sylvester was a child gospel star.
Encouraged to sing by his grandmother, the 1920s and 1930s jazz singer Julia Morgan, James' talent first surfaced at the Palm Lane Church of God in Christ in South Los Angeles, and soon he was making the rounds and stirring up audiences at churches around Southern California and beyond, sometimes billed as the "Child Wonder of Gospel."
Sylvester's home life disintegrated when he was a teenager. He clashed with his mother and stepfather, finally running away from home at age 16. For several years he lived on and around the streets of Los Angeles, but managed to finish high school and enroll at Leimert Beauty College. James moved to San Francisco in 1967 and, by his own account, his life began at that time.

Career

“	My life started when I moved to San Francisco.	”
—Sylvester

In San Francisco, Sylvester performed in a musical production called Women of the Blues, with his repertoire of Bessie Smith and Billie Holiday songs in tow. In the early 1970s Sylvester joined a short-lived group of performance artists called The Cockettes, a psychedelic drag queen troupe founded by Hibiscus, aka George Harris. After leaving The Cockettes, Sylvester performed in San Francisco a number of different times as a solo act. One of his most famed shows, entitled "Jungle Sin," which reprised Sylvester’s greatest Cockette solo songs, took place at the San Francisco supper club Bimbo's, and was produced by the rock impresario David Ferguson in 1972. That same year, Sylvester performed at The Temple in San Francisco with the then-unknown Pointer Sisters, which was also produced by Ferguson. Sylvester can be seen in the Cockettes' outrageous short film Tricia's Wedding, lampooning the wedding of President Nixon's daughter Tricia, and in an eponymous 2002 documentary about the group (which at one time included Divine).
In 1972, Sylvester supplied two cuts to Lights Out San Francisco, an album compiled by the KSAN radio station and released on the Blue Thumb label.
In 1973, Sylvester & The Hot Band, featuring Bobby Blood on trumpet, Chris Mostert on sax, James Q. Smith on guitar, Travis Fullerton on drums, and Kerry Hatch on bass, released two rock-oriented albums on Blue Thumb (their self-titled debut was also known as "Scratch My Flower," due to a gardenia-shaped scratch-and-sniff sticker adhered to the cover).
In 1974, Sylvester met Horus Jack Tolsen (Keyboards), and together with Sylvester's drummer Amadeo Barrios (drums) and his brother Adrian Barrios (Bass), formed a trio which backed up Sylvester at a nightclub in San Francisco called Cabaret - After Dark. Shortly thereafter Horus was fired, and Amadeo brought in new players — Archie White (Keyboards), Angel Reyes (Guitar), background vocalist Bianca Thorton, Gerry Kirby and another vocalist named Debbie. This took Sylvester into a new musical direction. The band unofficially called themselves The Four A's and had finally thrown in the towel after several attempts to get signed by a major label. In 1975 The Brothers Barrios gave it one last shot before joining The Lenny Williams Band , and Sly Stone.
Sylvester signed a solo deal with Fantasy Records in 1977, working with the production talents of legendary Motown producer Harvey Fuqua, who produced his first five albums. Sylvester later alleged that Fuqua cheated him out of millions of dollars. Sylvester soon met his frequent collaborator Patrick Cowley. Cowley's synthesizer and Sylvester's voice proved to be a magical combination, and pushed Sylvester's sound in an increasingly dance-oriented direction; his second solo album, Step II (1978), unleashed two disco classics: "You Make Me Feel (Mighty Real)," and "Dance (Disco Heat)". These two songs charted together on the American dance chart, and spent six weeks at #1 on this chart in August and September 1978. By this time both his live shows and recordings also recognizably featured the back-up vocals of Two Tons O' Fun: future Weather Girls Martha Wash and Izora Rhodes. 1979 brought three Billboard awards and an appearance in the movie, The Rose, starring Bette Midler. He sang "You Make Me Feel (Mighty Real)" live for The Castro Street Fair, thanks to future first openly gay supervisor Harvey Milk.
Moving to Megatone Records in 1982, Sylvester quickly landed a Hi-NRG classic with "Do Ya Wanna Funk", which was featured in the 1983 film Trading Places. He was close friends with other Megatone artists Linda Imperial and Jeanie Tracy
Sylvester was also very close to Patti LaBelle and Sarah Dash for whom he recorded background vocals for her dance hit "Lucky Tonight".
Later pressure from the label to "butch up" his image would result in him attending meetings in full-on drag. A drag photo shoot, which he staged and presented to label heads as a gag (calling it his "new album cover") would later grace the cover of Immortal after Sylvester died; it was the label's way of paying tribute to his spirit. In 1985, one of his dreams came true as he was asked to sing back-up for Aretha Franklin on her Who's Zoomin' Who? comeback album. His sole Warner Bros. Records album was Mutual Attraction in 1986; a single from the album Someone Like You became Sylvester's third #1 hit on the U.S. dance chart, and featured original cover art by Keith Haring.
In early 1987, Sylvester stated -

“

I don't believe that AIDS is the wrath of God. People have a tendency to blame everything on God.

”

NME - January 1987

Death

Sylvester died of complications from AIDS in San Francisco on December 16, 1988. He was 41 years old. His good friend, Jeanie Tracy took care of him before he died.
On September 20, 2004, Sylvester's anthem record, "You Make Me Feel (Mighty Real)", was inducted into the Dance Music Hall of Fame. A year later, on September 19, 2005, Sylvester himself was inducted into the Dance Music Hall of Fame for his achievement as an artist.

Loverde-Die Hard Lover 1982

2011-11-20T16:10:00.000-08:00

Frank Loverde (or simply Loverde) (1947–1990) was an American disco singer and musician active during the 1980s. Based in San Francisco, Loverde worked with record producer Patrick Cowley on his greatest success; Die Hard Lover, released in 1982.

Loverde was born in Los Angeles, California in 1947. Little is known about his family background, but some time during the early 1970s he relocated to New York City to take a job as a DJ at the Yellow Fingers nightclub. Loverde continued working at this venue for four years, during this time becoming more interested in music production and playing the guitar. During the 1970s, Frank met Linda Imperial in St. Louis, Missouri while working as a guest DJ at a newly opened night club. In the late 1970s, Loverde re-located to San Francisco with partner Dan Straehorn (a dance choreographer).

Musical career

Working with Linda Imperial and her sister, Loverde made a name for himself on the San Francisco club scene as both a DJ and performer. During this time, the trio gained a record deal with Prism Records and released Iko-Iko, a record produced by Patrick Cowley and Michael Finden, in 1980. Loverde continued on the club circuit, occasionally working on studio projects, until 1982 when he was given an instrumental track by Patrick Cowley and asked to write lyrics for it. This track became "Die Hard Lover", which was recorded along with Linda Imperial and Peggy Gibbons. The trio, now calling themselves Loverde, had huge success with the single in 1982 and became celebrities in the Hi-NRG music community.

Loverde's second single was "My World Is Empty Without You", another successful release which led to television appearances and a tour. By the time of the single's release, Patrick Cowley was becoming increasingly ill, suffering from AIDS, and was unable to contribute anything more than simple synthesizer riffs. Production credits on the single went to Bill Motley and Horus Jack Tolson. Following Cowley's death in 1982, Loverde were unable to repeat their earlier success with new music produced without his input. They recorded Backstreet Romance in 1983, but the record was a commercial failure. Loverde's last works were "Love Takes Me Higher" and "Manifestation of Love", both released in 1987. After the collapse of Megatone Records in 1988, Loverde was unable to find a new contract.

Death

Sometime in the late 1980s, Frank Loverde contracted the AIDS virus. The illness had obliterated the music industry in San Francisco and many of Loverde's acquaintances had already died from the virus. He died just before Christmas on the 20th of December 1990 at the age of 43.

Grammy Winner Thelma Houston

2011-11-05T18:47:00.000-07:00

Interview and photos by Alan Mercer amprofile.blogspot.com/

Photos: Alan Mercer Make-up: Rudy Calvo Hair: LeVerne Tate

Thelma Houston scored a number one hit in 1977 with her cover version of the song "Don't Leave Me This Way", which won the 1978 Grammy Award for Best Female R&B Vocal Performance.

Houston was born the daughter of a cotton picking mother. She and her three sisters grew up primarily in Long Beach, California. After marrying and having two children, she joined the Art Reynolds Singers gospel group and was subsequently signed as a recording artist with Dunhill Records. In 1969, she released her debut album, entitled Sunshower, produced by Jimmy Webb. In 1971, she signed with Motown Records but didn't get a hit until she released her third album Any Way You Like It in 1976. The first single released was her version of Harold Melvin & the Bluenotes' 1975 song "Don't Leave Me This Way". In February 1977 it hit number one in the U.S. on both the Billboard Hot 100 and R&B charts.

On August 14, 2007, Thelma Houston released her first studio album in seventeen years, A Woman's Touch. The album features cover versions of songs by male artists such as Luther Vandross, Marvin Gaye, and Sting that Houston had been inspired by. The first single from the album was "Brand New Day." On August 20, 2007, Houston's 1984 album Qualifying Heat was reissued as an import title in the U.S. with a bonus track.

I have always loved Thelma Houston's music. The excitement and energy she brings to anything she does is undeniable. Her voice is as strong and clear today as it was thirty years ago. She has spent a good part of her career "working well" with others. Her collaborations with other artists like Jerry Butler, Scott Henderson, Jermaine Jackson and others are well known in the industry.

I met Thelma through my friend Rudy Calvo who is not only an experienced make-up artist, but an expert in Soul Music. Rudy will be featured on this blog in the very near future. He has known Thelma for years and put us together for our first photo shoot eight years ago. These photos are from our third photo session. Rudy, Thelma and I got together to discuss her career so far!
AM: Hello Thelma, before we talk about anything else I want to tell you that I just discovered the four tracks you did with Scott Henderson! I love them.

TH: Oh yeah, he's the blues guy. That was done in 1997. I have to think about things in terms of where I was living. I was doing a project with Carole King's band. One of the guys in the band gave Scott my phone number. When I heard his music I really liked the way he played. He sent me these funny lyrics about the meter maid and a song called 'I Hate You' and it was so different than anything I had ever done. I ended up working on two projects with him. That's what I love doing, and at the same time, it's a big headache to a record company. I always thought that's what it should be. I like doing all kinds of things.

RC: You are producing art, and a lot of the art is missing from today's music. Last night I watched VH1 Divas and I wondered what happened? I did think Leona Lewis can sing but all her recordings sound like Britney Spears.

AM: That reminds me that Thelma is always on television. You get more TV time than any of your peers now. What do you think that's all about?

TH: Well I think it's a good thing! (lol) These things just kind of happen. I think it's the popularity of the song. 'Don't Leave Me This Way' was and still is a favorite. When they want to get the audience up and moving they like the song and I come along with the song!

RC: I think it's more than that. It is a great song but you are a great talent. Lots of people have done dance songs and can't hold a candle to you. You are what a real singer is all about. That's at least part of the reason you are still doing what you do, because you are so great. I see people that have great songs all the time but they can't back it up.

AM: I have to agree with that.

RC: It's also the energy you give out.

TH: Well thank you. It is a natural reaction because I am so happy to be doing it. I really genuinely love doing this. I'm happy for every opportunity to do it.

RC: You have always been consistent with your career. You have always worked. You are always a part of a project like 'Sisters of Glory' and 'Pressure Cooking.' Last night I heard your version of 'Comfortably Numb' and it knocked me out. I believe that is one of the best songs you have ever recorded. It is so strong and powerful. I like a lot of your work but I think that is a masterpiece.

TH: Thank you Rudy. It's a project I did with all these songs from Britain. It was done with the symphony orchestra. I did some tours with them as well.

AM; Do you think it makes a difference to record LIVE in the studio?

TH: I love it LIVE.

AM: Do you think it makes a better end result?

TH: For me it does because I do so much better. I love the element of performing so when I record LIVE I am more natural. When I first started recording with the Art Reynolds Singers that's the way we used to so it. We would cut the songs LIVE with the band. That is also the way Jimmy Webb asked me to record 'Sunshower.' He loved to be there and have me record LIVE. That's the only way that I knew, but when I got to Motown they would already have these tracks recorded in your key but you wouldn't be there to have an input into the creation of the song. I quickly learned who was booking the tracking dates and I would become their good friend so they would let me know when the recordings were being done and I could show up and have a say in them. I LOVE to be able to record LIVE!

RC: So when you were with Motown was it more of an assembly line?

TH: At Motown if someone was a writer or producer and they had an idea, they would run it past the creative people and decide if it was a good track and then they would decide what artist would record it. Or they might say I think this is a good cut for Thelma or Diana. If they thought it was strong enough they could get it cut right away.

RC: Who were your favorite songwriters at Motown?

TH: I liked Pam Sawyer and Gloria Jones when they wrote together.

RC: Everything they did was very dramatic.

TH: There are a lot of good writers there. I love Nick and Valerie Simpson's writing and I LOVE Michael Jackson's writing. I like all the Motown songs. My favorite all-time writer is Jimmy Webb. Of all the material that I have ever recorded, his songs were the most challenging and the lyrics were the best. It's beautiful and you can picture it.

RC: It has also become a classic album for people who are connoisseurs of music.

AM: When I heard that album for the first time I was floored by the beauty. Rudy do you think Thelma's music with Motown stands out from the rest of her work?

RC: It depends on the track. I prefer her singing a great love song instead of something kitschy. I know you had to record those songs Thelma.

TH: We all had to do them and if you refused they would say, 'We're just trying to get you a hit song.' It makes you feel like the worst person. When you are not a songwriter and you don't write for yourself you are at their mercy. We still had the opportunity to say no, but if you say no all the time then you become known as difficult and if you are difficult nobody wants to work with you.

RC: When you were under contract did you have to record what they told you or did you get a choice?

TH: It all depended on the producer. I worked a lot with Hal Davis and he had so many cuts. I was so excited to be there that I sang all of them. But Joe Porter said if there was a song that I wanted to sing we could use it. From that point of view I liked working with him, but Hal Davis is who gave me the hits. It just depended on who I was working with.
I learned to work with a whole bunch of different producers. It was good to be with Motown because I came away with a Grammy and an international hit!

AM: Were you elated to sign with Motown or was it just another project?

TH: Back in the early sixties when I was pregnant and having morning sickness I heard Smokey Robinson sing on the radio and hearing about Motown. I thought to myself that I would never, ever be a singer. It will never happen for me. So some years later to turn around and be on the label I was elated to be on the label. I didn't think I would ever be discovered in Long Beach.

RC: I consider Thelma to be one of the prominent members of the Female West Coast Singers. People like Darlene Love, Brenda Holloway, and Edna Wright, Merry Clayton, Clydie King, Gloria Jones. These are women of substance.

AM: Substance being the key word. That's what sets them apart.

TH: Those are all the girls I knew of.

RC: How do you feel about performing your 'Capitol' work after all these years coming up in England?

TH: I think it's going to be fun. I am looking forward to it. It's like new material because I haven't done it in so long. I have to learn it.

RC: You got that contract because Art Reynolds was on Capitol right?

TH: Yes and they asked me if I wanted to do my own thing.

RC: When are you going to England?

TH: I go in November.

RC: She is also performing for the first time at the world famous Jazz Cafe in London.

TH: This will be my first time to really be there in many years.

AM: Can you share any valuable lessons you may have learned about the business over the years?

TH: Yes I have a story. The first big show I ever did was headlined by Moms Mabley. I went to the rehearsal for the show and the band leader asked me for my charts. I said, 'My charts?' He said, 'Yes where is your music?' I said, 'I don't have any music.' Then I got the idea to give him some of my 45 records and I told him I can sing these songs. He sent the horn players on a break and kept the rhythm section there so we could make the charts for my songs so I could stay in the show. I remember they put me in the same dressing room as Moms Mabley. She had many bottles of Spring water and she was sitting there relaxing. The first show was over-sold. They had people waiting in line for a second show. The promoters came back to Moms room and said, 'Moms, it looks like we are going to have to do a second show. Is that cool?' She said, 'It's cool if you have my money.' They told her to not worry and that everything would be fine. We will collect the money and give it to you after the show. She said, 'I want my money before.' They said, "Come on Moms.' She took those teeth out of her mouth and started chanting, 'We gonna have a riot. We gonna have a riot.' They came back and counted her out her money. I said, 'I want mine too.' They paid me and I'm not sure if the rest of the performers got theirs. They were sitting around afterwards waiting for their money and we were packed up and ready to go. I learned that lesson from Moms Mabley. I was really glad to be in that room that day.

To learn more about Thelma Houston visit her MySpace page
http://www.myspace.com/thelmahouston

Dolly Parton,Baby I'm Burning

2011-10-29T15:04:00.000-07:00

"Baby I'm Burning" was a 1978 song written and performed by Dolly Parton that was part of a double-A-sided single "Baby I'm Burning"/"I Really Got the Feeling".
Released from Parton's RCA album Heartbreaker, after the success of the title single, "Baby I'm Burning" reached number 25 on the Billboard Hot 100 chart in early 1979, and also became a surprise hit on the disco chart, peaking at number 15.
In addition to the standard 45-rpm single, an extended dance single, entled "Dance With Dolly" was released, including an extended dance version of the song, intended for airplay in discos and dance clubs.

I Really Got the Feeling

While "Baby, I'm Burning" did get some country airplay in late 1978 and early 1979, it was the flip side — "I Really Got the Feeling" — that caught on with country music fans.
The song was a pop-styled ballad, written by Billy Vera, that bore no resemblance to the disco feel of "Baby, I'm Burning." The subject matter of "I Really Got the Feeling" was about a woman who falls in love with a man at first sight, citing him as a virtuous individual. She plans to stay with him for the rest of her life, regardless of "what my Daddy might say."
"I Really Got the Feeling" became Parton's 10th No. 1 Billboard Hot Country Singles hit in January 1979.

The Emotions,Best of my Love

2011-10-26T16:21:00.000-07:00

"Best of My Love" is a disco song by the band The Emotions released as a single from their album Rejoice (1977). The song was composed by Maurice White and Al McKay of Earth, Wind & Fire. Earth, Wind & Fire would later team up with the Emotions for the 1979 hit "Boogie Wonderland". "Best of My Love" won a Grammy for Best R&B Performance By A Duo Or Group With Vocal and also won an American Music Award for Favorite Soul/R&B Single.
The song was listed at #87 on The Billboard Hot 100 All-Time Top Songs. and it was the third biggest Pop song of 1977 and the fifth biggest R&B song of 1977."Best of My Love" has been certified Platinum by the RIAA.

Song description

The song has an upbeat vibe, with a prominent bass line and horns accenting the drums between the verses and chorus.

Chart performance

The single achieved huge success, remaining on top of the Billboard Hot 100 chart for 5 non-consecutive weeks. The song managed to stay at the top spot of the chart for four consecutive weeks until it was dethroned by Andy Gibb's "I Just Want To Be Your Everything". The single returned and spent an additional week on top of the Billboard Hot 100. On the disco chart, "Best of My Love" would peak at number eleven. Eventually, the single received a Platinum certification from RIAA, becoming The Emotions' biggest hit to date and their only single to receive a certification.

Covers

The song has been covered numerous times by various artists, including Christina Milian with Carol Duboc and Minae Noji (featured in the film Be Cool), Sakura, Dee Lewis (1988) and Lisa. Mary J. Blige also covered the song in 2004 for the GAP clothing store company. Pop diva Sheena Easton covered the song for her disco album "Fabulous" in 2001. Phoebe Snow does a version on her 1989 album Something Real with a horn section backing her up that includes Randy Brecker, Tom Scott and John Faddis.
The song has also been used in reality shows, such as in Australian Idol 2006, in which it was sung by Lavina Williams, in the fourth season of American Idol, in which it was sung by Vonzell Solomon, in the second season of Pinoy Dream Academy, in which it was sung by Liezel Garcia, and in the sixth season of the American Dancing with the Stars (Jason Taylor and Edyta Sliwinska danced to it in the sixth week of competition).
There is also a Dutch version of the song, sung by former Dutch Idols-finalist Dewi Pechler. This version is called "Het Beste Van Mij" and is an exclusive airplay single for the Dutch radio station 100%NL. In 1994 C.J. Lewis did a cover it reached #13 in UK

Usage in film

The song has appeared in many films, including Boogie Nights (1997), Summer of Sam (1999), The Wendell Baker Story (2005), Mission Impossible III (2006) and The Holiday (2006).
The song was also used in various TV spots for the 2010 dramedy "Why Did I Get Married Too?"
The song was also covered by Christina Milian, Carol Duboc and Minae Noji featured in the film Be Cool (2005).

Derivatives

"Best of My Love" was allegedly sampled without permission in Mariah Carey's single (ironically called Emotions), resulting in a lawsuit.
The rap group 3rd Bass sampled the song in their song 'Brooklyn-Queens'
The tune was used for WNBC-TV in New York to promote their News 4 New York newscasts in 1980.
R&B Artist Tamia samples "Best of My Love" for her track "Falling For You" from her self-titled album, Tamia
B-Rock and the Bizz sampled the bassline for their song "My Baby Daddy".

The Emotions are an American all female soul and R&B singing group. The group was formed in its current hometown of Chicago, Illinois originally consisted of the three Hutchinson sisters, all the children of Joseph and Lillian Hutchinson.

History
Origins and early years

Joseph had prayed for talented children before the girls were born, and wasted no time in developing their musical skills. As soon as the girls could talk, he began teaching them music skills, and had them practice in the basement of their home on the south side of Chicago. When Sheila, the youngest, was five years old, they began singing in church choirs and were known as the Hutchinson Sunbeams. Joseph's son, Joseph, Jr., one son, five daughters. In 1968, the girls changed their name to The Emotions, and released their first album, So I Can Love You, the following year. The album's title track, written by Sheila, was a minor hit single, as was "The Best Part Of A Love Affair". In 1969 the girls were asked to be part of a summer outdoor concert in Rochester NY. The group caught the eye of The host of the concerts, Herb Hamlett the powerful soul DJ of WCMF FM. Father Joe was the groups guitarist and formed a friendship with Hamlett, that brought the group bookings and headliners in NewYork State.

Jeanette was married in 1970, amd gave birth to her first son, Chicha. A close friend, Theresa Davis, a former member of Our Ladies Of Soul began to sing with the group. The following year, the Emotions released Untouched, their second album, which featured hits such as "Show Me How" and "If You Think It". During their Stax years, they were produced by Isaac Hayes and David Porter. By 1976 and the Flowers album, they had left Stax and Jeanette had returned to record and perform. Flowers included the hits "Flowers" and "I Don’t Wanna Lose Your Love". Later Pamela began to tour live performances with the group while Jeanette pursues individual personal goals.
Success with Earth, Wind & Fire

Their association with Maurice White of Earth, Wind & Fire brought them their greatest success. With White's assistance, the Emotions released the albums Rejoice and Sunbeam in 1977 and 1978. Maurice White-co-produced with Clarence McDonald the single "Best Of My Love" spent five weeks at number-one on the US pop chart in 1977. Jeanette left in 1977, to give birth to her second child, Pili. Their sister, Pamela began to sing live dates. In 1978, Jeanette sang on every album ever recorded by the group in collaboration with Earth, Wind & Fire on another single, "Boogie Wonderland", which was a top 10 hit in 1979. The group continued to record together during the 1980s, and were signed briefly with Motown Records at one point.
The Emotions today

The Emotions, continue to perform with Wanda, Pamela, and Sheila and released a final album in 1996 which Jeanette is recorded live with her sisters; as Pamela has never recorded with them. They continue to perform and make personal appearances. Wanda has three daughters, two of whom plan to enter the music industry themselves.
Influence

The Emotions' 1972 Stax track "Blind Alley" formed the basis for Mariah Carey's 1993 Billboard chart-topping hit "Dreamlover" and also the famous "Pink Cookies In a Plastic Bag" by LL Cool J. Carey continued to show her love with the 1991 hit "Emotions", which samples "Best of My Love". "Blind Alley" was previously sampled in 1988 for Big Daddy Kane's "Ain't No Half Steppin'". The Cheryl Lynn hit "Got To Be Real" is based on the bridge of "Best of My Love". Late 1970s family trio, The Jones Girls, was also influenced by the Emotions' sound.

Discography
Studio albums
Year Album Chart positions US
certifications
Record label
US US
R&B UK
1969 So I Can Love You — 43 — — Volt (Stax)
1971 Untouched — — — —
1972 Songs of Innocence and Experience Unreleased
1976 Flowers 45 5 — Gold Columbia
1977 Rejoice 7 1 — Platinum
Sunshine 88 39 — — Stax
1978 Sunbeam 40 12 — Gold Columbia
1979 Come into Our World 96 35 — — ARC
1981 New Affair 168 46 — —
1984 Sincerely 206 33 — — Red Label
1985 If I Only Knew 203 54 — — Motown
"—" denotes the album failed to chart or was not certified
Compilation albums
Year Album Chart positions Record label
US US
R&B
1978 Chronicle — — Stax
1996 Best of My Love: The Best of the Emotions — 77 Legacy
1998 The Emotions — — Sony Music
1999 Love Songs — — Legacy
2002 Super Hits — —
2004 Songs of Innocence and Experience...and Then Some! — — Stax
2007 Best of the Emotions — — Mastercuts
"—" denotes the album failed to chart
Singles
Year Single Chart positions
US US
R&B US
Dance UK
1962 "Santa Got Stuck in the Chimney" — — — —
1964 "Good Old Days" — — — —
1967 "I Can't Stand No More Heartaches" — — — —
1968 "Somebody New" — — — —
"I Can't Control These Emotions" — — — —
"I Love You, But I'll Leave You" — — — —
1969 "So I Can Love You" 39 3 — —
"The Best Part of a Love Affair" 101 27 — —
1970 "Stealing Love" (A-Side) — 40 — —
"When Tomorrow Comes" (B-Side) — — —
"Heart Association" — 29 — —
"Black Christmas" — — — —
1971 "You Make Me Want to Love You" — 47 — —
"If You Think It (You May As Well Do It)" — — — —
"Show Me How" 52 13 — —
1972 "My Honey and Me" 113 18 — —
"I Could Never Be Happy" 93 23 — —
1973 "From Toys to Boys" 112 37 — —
"Runnin' Back (And Forth)" — 91 — —
"Peace Be Still" — — — —
"What Do the Lonely Do at Christmas" — — — —
1974 "Put a Little Love Away" 73 53 — —
"Baby, I'm Through" — 82 — —
"There Are More Questions Than Answers" — — — —
1976 "Flowers" (A-Side) 87 16 — —
"I Don't Wanna Lose Your Love" (B-Side) 51 13 4 40
1977 "Best of My Love" 1 1 11 4
"Don't Ask My Neighbors" 44 7 — —
"Shouting Out Love" (A-Side) — 31 — —
1978 "Baby, I'm Through" (re-release) (B-Side) — 59 — —
"Smile" 102 6 — —
"Whole Lot of Shakin'" — 44 — —
1979 "Walking the Line" — 58 — —
"Boogie Wonderland" (with Earth, Wind & Fire) 6 2 14 4
"What's the Name of Your Love?" — 30 — —
1980 "Where Is Your Love?" — 75 — —
"Come into Our World" — — 95 —
1981 "Turn It Out" — 48 50 —
"Now That I Know" — 68 — —
1984 "You're the One" — 34 — —
"You're the Best" — 52 33 —
"Are You Through with My Heart?" — 87 — —
1985 "Miss Your Love" — — — —
"If I Only Knew Then (What I Know Now)" — — — —

"Best Of My Love" - Glenn Rivera ReStructure Mix - The Emotions

2011-10-26T16:14:00.000-07:00

Maurice White's "magic ladies" performing one of disco music's most alluring cuts. Elements of soul and disco blend together to create a sensational dance track. Guitars, horns, strings, great vocals...what more could we ask for?

Extended to a stop-and-go mix full of handclaps in this ReStructure Mix!

“Beauty and The Beast” by Love and Kisses – Disco Video Mix by Glenn Rivera

2011-10-26T16:01:00.000-07:00

Love and Kisses is a studio ensemble created and produced by disco pioneer Alec R. Costandinos (who also wrote Cerrone’s “Love In ‘C’ Minor”). The LP “How Much, How Much, I Love You” was one of the big Euro-disco statements of 1978 – the vocals on this recording were provided by Alec, Joanne, Stephanie, Sue and Sunny.

“Beauty and The Beast” is from the album and is one of the magical symphonic pieces of disco history. From the earlier “Romeo and Juliet” and the first Love and Kisses album – this one ranks right alongside Costandinos' classics.

I have taken the 1991 Walt Disney now-classic “Beauty and The Beast” and mixed the two – even though a much of the chorus sings about the tale and the Disney cartoon focuses on Belle, the spell and the The Beast. It is a short walk using both mediums to create a disco-movement with the wonderful animation.

The film was directed by Gary Trousdale and Kirk Wise

This Disco Video Mix is dedicated to Loulou S. from The Netherlands - the "beauty" who always shines.

Featuring scenes from Walt Disney’s “Beauty and The Beast” – RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

"Just Another Broken Heart" by Dorothy Moore - Disco Video Mix by Glenn Rivera

2011-09-07T07:24:00.000-07:00

"Just Another Broken Heart" is a 1982 dance classic by Dorothy Moore ("Misty Blue") - the track was produced by Bob Montgomery (Johnny Rivers, Jim Hurt). It is a well known underground track among disc jockeys and hard core audiophiles. It not only is a successfully dramatic performance by Ms. Moore, but it also has one of the most incredible arrangements.

"The Bodyguard" is a 1992 thriller starring Whitney Houston and Kevin Costner - a film passed with past possible stars such as Diana Ross, Ryan O'Neil and even Madonna as the lead. Luckily, we have Whitney taking the stage and leaving behind a trail of tears which I take advantage of in this Disco Video Mix.

Featuring scenes from "The Bodyguard" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

Nick Ashford Dead At Age 70

2011-08-23T10:59:00.000-07:00

Nick Ashford, one-half of the legendary Motown songwriting duo Ashford & Simpson, has died at age 70. His former publicist told the Associated Press that the singer and songwriter died in a New York City hospital on Monday. He had undergone radiation treatment for throat cancer.

Ashford & Simpson were known for their hit “Solid” and also penned “Ain’t No Mountain High Enough” and “‘You’re All I Need To Get By.”

He is survived by his wife and two daughters.

Nickolas Ashford (May 4, 1942 – August 22, 2011) , and Valerie Simpson (born August 26, 1946), were a husband and wife songwriting/production team and recording artists.
Ashford was born Fairfield, South Carolina, and Simpson in Bronx, New York. They met at Harlem's White Rock Baptist Church in 1963. After having recorded unsuccessfully as a duo, they joined aspiring solo artist and former member of the Ikettes, Joshie Jo Armstead, at the Scepter/Wand label where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step At A Time"), as well as the Shirelles and Chuck Jackson. Another of the trio's songs, "Let's Go Get Stoned", gave Ray Charles a number one U.S. R&B hit in 1966. That same year Ashford & Simpson joined Motown, where their best-known songs included "Ain't No Mountain High Enough", "You're All I Need To Get By", "Ain't Nothing Like the Real Thing", and "Reach Out and Touch (Somebody's Hand)". As performers, Ashford and Simpson's best-known song is "Solid" (1984 US and 1985 UK). The duo was inducted into the Songwriters Hall of Fame in 2002.

Career

Songwriters

The duo essentially had two careers: one as a successful writing and producing team and the other as singers and performers themselves. They started their career in the mid-1960s, writing for artists such as The 5th Dimension ("California Soul"), Aretha Franklin ("Cry Like A Baby"), and Ray Charles ("Let's Go Get Stoned" and "I Don't Need No Doctor"). Their work with Charles brought them to the attention of Motown chief Berry Gordy.
Upon joining the Motown staff in 1966, Ashford & Simpson were paired with the vocal duo Marvin Gaye and Tammi Terrell, and they wrote and/or produced all but one of the late-1960s Gaye/Terrell singles, including hits such as the original version of "Ain't No Mountain High Enough", "Your Precious Love", "Ain't Nothing Like the Real Thing", and "You're All I Need to Get By". According to Gaye in the book Divided Soul, Simpson did most of the vocals on the last album he did with Terrell, Easy, as a way for Terrell's family to have additional income as she was battling an ultimately fatal brain tumor. (Simpson is quoted as denying this in a book written by Terrell's sister Ludie Montgomery.)
Ashford & Simpson wrote and produced almost all the songs on three 1970s albums for former Supreme Diana Ross, including her first solo album Diana Ross ("Reach Out and Touch (Somebody's Hand)" and "Ain't No Mountain High Enough"), Surrender ("Remember Me"), and The Boss.
Other Motown artists whom Ashford & Simpson worked with include Gladys Knight & The Pips ("Didn't You Know You'd Have to Cry Sometime", "The Landlord", "Bourgie, Bourgie", and "Taste of Bitter Love"), Smokey Robinson & The Miracles ("Who's Gonna Take the Blame"), The Marvelettes ("Destination:Anywhere"), The Supremes ("Some Things You Never Get Used To"), and The Dynamic Superiors ("Shoe, Shoe Shine").
Other artists with whom Ashford & Simpson had hits were Teddy Pendergrass ("Is It Still Good to You"), The Brothers Johnson ("Ride-O-Rocket"), Chaka Khan, both on her own ("I'm Every Woman" and "Clouds"), and Rufus ("Keep It Comin'" and "Ain't Nothin' But a Maybe").

Performers

Ashford & Simpson's career as recording artists began in the early 1960s as part of the gospel group The Followers, with whom they recorded the album Gospel Meeting (on Forum Circle), later issued as Meetin' The Followers (on Roulette Records). The LP contains their vocals and also four Ashford compositions. In 1964, they recorded "I'll Find You", as "Valerie & Nick" This was followed by several obscure singles recorded by Ashford on the Glover, Verve and ABC labels, such as "It Ain't Like That" (later recorded by Martha Reeves & The Vandellas), "California Soul", and "Dead End Kids", backed by his own version of "Let's Go Get Stoned". After concentrating on working with other artists, Simpson was the featured soloist on the songs "Bridge Over Troubled Water" and "What's Going On" on the Quincy Jones albums Gula Matari in 1970, and its follow-up, Smackwater Jack'.' Simpson subsequently recorded two solo LPs for Motown: Valerie Simpson Exposed in 1971, and, the following year, Valerie Simpson, which included the single "Silly Wasn't I", which was later sampled on 50 Cent's "Best Friend" from the movie Get Rich or Die Tryin'. The song was also sampled by 9th Wonder on Murs's "Silly Girl" in the album Murray's Revenge. Ashford & Simpson were featured singing selections from Simpson's solo albums on the PBS TV show Soul!, hosted by Ellis Haizlip in 1971. In 1973, they left Motown after the albums Simpson recorded for the label received poor promotion and the company refused to release an album of the duo recording a collection of their most famous songs for other artists.
In 1974, Ashford & Simpson married and resumed their career as a duo with the Warner Bros. album, Gimme Something Real. This was followed by the hit singles, "Don't Cost You Nothin'" (1977), "It Seems To Hang On" (1978), "Is It Still Good to Ya" (1978), "Found a Cure" (1979), "Street Corner" (1982), and their biggest hit, "Solid", released in 1984.
In 1978, they were featured as vocalists, along with Chaka Khan, on the hit single "Stuff Like That" from Quincy Jones' Sounds... And Stuff Like That album and contributed to the writing of the soundtrack to The Wiz.
Simpson appeared (with Melba Moorman) as part of the "Blood, Sweat & Tears Soul Chorus" on the band's Al Kooper lead debut, Child Is Father to the Man.
On his own, Ashford (along with Frank Wilson), produced the mammoth hit "I'm Gonna Make You Love Me", which Diana Ross & the Supremes recorded in collaboration with the Temptations in 1968. He also appeared in the movie New Jack City (1991), as Reverend Oates, an ordained minister who was part of Nino Brown's entourage.
Simpson's brothers were in the record business as well: Ray Simpson replaced Victor Willis in the Village People and their brother Jimmy Simpson produced the group GQ (which had big hits with "Disco Nights" and "I Do Love You"), and was in great demand as a mixing engineer during the disco era.

Recent years

In recent times, Ashford & Simpson recorded and toured sporadically, and in 1996, they opened the restaurant and live entertainment venue, Sugar Bar in New York City, which has an open mic on Thursday nights, where performers have included Queen Latifah and Felicia Collins. They recorded the album Been Found with poet Maya Angelou in 1996. Around this time, they were also featured disc jockeys on New York's KISS-FM radio station.
On August 16, 2006, Playbill Online reported that they were writing the score for a musical based on E. Lynn Harris's novel Invisible Life. In January 2007, they, along with Tina Turner, Mary J. Blige, Mariah Carey, Sidney Poitier, director Spike Lee, and comedian Chris Tucker accompanied Oprah Winfrey when she opened her Leadership Academy for Girls in South Africa.
They were given writing credit on Amy Winehouse's 2007 CD Back to Black for the single "Tears Dry On Their Own". The track is based on a sample of Marvin Gaye and Tammi Terrell's 1967 Motown classic hit "Ain't No Mountain High Enough". They had began performing their act in small, intimate venues, such as Feinstein's at the Regency in New York and the Rrazz Room in San Francisco, and in January 2009, they released a CD and DVD of their live performances titled The Real Thing. On June 22, 2009, they made a guest performance at a party at Tribeca Rooftop, New York, to celebrate Virgin Atlantic's birthday party. They also made their first appearance in Tokyo, Japan, in November 2009, and performed 8 shows in 4 days at Blue Note Tokyo.
Ashford died in New York on August 22, 2011, of complications from throat cancer.

Personal life

Ashford and Simpson had two daughters, Nicole (who graduated from Wesleyan University in 1997) and Asia.

Happy Birthday Glenn Rivera!!!!!!!!!!!!!

2011-08-13T06:31:00.000-07:00

I wanna congratulate Glenn Rivera,my dear friend with his birthday ,we disco addicts all know him for his dedication to disco music his great restructure and videomixes.
Happy Birthday Glenn,there will be a day i will
also be there to celebrate youre birthday with you guys.I hope you and Ken have a great day,sending you
much love and birthday wishes,your friend ,Loulou!!!!!!Love you guys!

Love Rush by Ann Margret TV Special

2011-08-04T16:46:00.000-07:00

“Woman Ad-Lib” by L.A.X. – Disco Video Mix by Glenn Rivera

2011-07-27T09:38:00.000-07:00

L.A.X. is a disco band produced by Jean Kluger and Ralph Benatar – the LP “Under Cover Lover” featured a track titled “Woman Ad-Lib” (which was released in France as “A Woman That’s Hot”. The song is a sexy tribute the the shapely beauty of femme and the rolling bass of disco in the late 70s.

I have taken the track and paired it with the1956 film “The Girl Can’t Help It” starring Jayne Mansfield and Tom Ewll – using a few scenes of the dynamite and sexy lead star I am created an outline for the disco track. Quite a figure and outline – for any mix!

The film was directed by Frank Tashlin

This Disco Video Mix is dedicated to Loulou from The Netherlands

Featuring scenes from “The Girl Can’t Help It” – RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

Raffaela Carra,A far l'amore comincia tu 1977

2011-07-18T07:31:00.000-07:00

Her greatest international hit single was "Tanti Auguri" ("Best Wishes"), which has become a popular song amongst the gay community. The song is also known under its Spanish title "Para hacer bien el amor hay que venir al sur" (which refers to Southern Europe, since the hit was recorded and taped in Spain). The Estonian version of the song "Jätke võtmed väljapoole" was performed by Anne Veski. "A far l'amore comincia tu" ("To make love, your move first") was another success for her internationally, known in Spanish as "En el amor todo es empezar", in German as "Liebelei", in French as "Puisque tu l'aimes dis le lui", and in English as "Do It, Do It Again". It was her only entry to the UK Singles Chart, where she remains a one-hit wonder. In 1977, she recorded another hit single, "Fiesta" ('The Party' in English) originally in Spanish, but then recorded it in French and Italian after the song hit the charts.

NEW Raffaella Carra and Bob Sinclar,"Far L´Amore"2011

2011-07-18T07:19:00.000-07:00

Raffaella Carrà (born 18 June 1943, Bologna, Italy), in Italy often simply known as la Carrà and in some Latin American countries sometimes simply as Raffaella, is an Italian singer, dancer, television presenter, and actress. She is a popular figure in Italy, Spain, Malta, Greece and Latin America and Russia, both as a result of her many well known taped presentations and records, and because of her many popular TV shows.

It's time to take a breather from your workload and do a little dance. Bob Sinclar is back with an amazing track that features Italian diva Raffaella Carrà.

Sinclair premiered his new song 'Making Love' over the weekend at Pineta in Milano Marittima

Raffaella is embarking on a comeback at the age of 67 and Bob was the chosen one. The new song is called "Far L´Amore", which translated into English is "Making Love".

The French DJ is now experimenting with a new genre called Italo Electro.

According to ElectroWow-Music, the genre is a combination of Italo Disco and Dirty Dutch music (Electro).

Beautiful Bend

2011-07-07T09:32:00.000-07:00

Russian born Boris Midney's 1978 epoch album, Make That Feeling Come Again! under the studio name Beautiful Bend, was a Disco tour de force. He brought it all to life at his Eras recording studio in New York City which boasted 48 tracks. Layer upon layer of sounds are built up to create this symphonic Disco masterpiece that manages to blend his classical and jazz background with the thumping sounds of Disco and a little funky guitar thrown in for good measure. If you enjoy the music of Alec R. Costandinos, Voyage or other groups like USA European Connection then Beautiful Bend is a must! An edited 12 inch single was released on TK Records of the above tracks, but it is the complete album shown here that needs to be heard to appreciate the scope of Boris Midney's work.

1 That's The Meaning
2 Boogie Motion
3 Make That Feeling Come Again
4 Ah Do It

bonus That's The Meaning Boogie Motion (12'' Extended Mix)

Beautiful Bend

Marlin Records
1978 / Marlin 2218
Producer: Boris Midney for MI Sound Productions
All songs composed and arranged by Boris Midney

Pioneering dance music producer/arranger Boris Midney was among the principal architects of the Eurodisco sound. One of the first to exploit the full potential of 48-track recording, his trademark blend of strings, horn and percussion created a sound as deep and lush as any heard during the disco era. Born in Russia, Midney was a classically-trained composer who started out writing film scores; turning to disco, however, he discovered his true calling. Working under a number of guises he produced an enormously prolific body of work from his New York City studio ERAS. He first came to American prominence with USA-European Connection. The concept was simple, take lush female vocals and arrangements (done USA style) and place them over swirling strings, and incessant synthesized beats (Euro style) and you have a hit. The four track debut album stormed the club charts and peaked at #-1. "Love's Coming/Baby Love" and "Come Into My Heart/Good Loving" were in a class by themselves.......chic disco! The first album, "Come Into My Heart," released in 1978 was recorded in Philadelphia at ALPHA Recording studios. Midney used Leza Holmes, Renne Johnson and Sharon Williams for the vocals and Joan Cordas and Bruce Weeden to assist in the musician department. By the time of the release of 1979's "USA-European Connection" he had moved into his 48-track ERAS studio in New York. Vocal duties were handle in-house by Kevin Owens and Chequita Jackson, singers he used on many of his other productions. Musicians included: Peter Martin, Tom Miller, Francisco Centeno and Bob DePasquale's String Group. Once again the formula was the same, four tracks, "I'd Like To Get CLoser," "Do Me Good," "Join The Dance" and "There's A Way Into My Heart," peaking at #-1. Having exhausted this concept, and far too busy churning out concept album after concept album, Midney chose not to release another under this banner. Luckily for fans both albums were re-issued in 1999 on compact disc.

"Superstar" Bob McGilpin (1978)

2011-07-07T09:00:00.000-07:00

Bob McGilpin's first release was 1978's "Superstar." The album was released promotionally on colored (grey) vinyl, as were all Butterfly Records albums. The title track was the only 12" single released from the album and it became a Top Ten hit for him. The song, "Superstar" was so popular that it was remixed and re-released a second time during it's peak.

His second album was 1979's "Get Up." The A-side was "Sexy Thing" but the hit, at least in Chicago, was the B-side "Get Loose."

In 1980, following the demise of Butterfly Records, he moved to Casablanca Records where he had one release the self-titled "Bob McGilpin." Only one 12" was released, "Down To The Wire" backed with "Chain Reaction."

His last known musical appearance of Bob was on March 5, 1998. He was part of the entertainment at "Higher Ground" in Hollywood on their "Western Beat" night.

He is currently working as a Producer, Songwriter, Engineer and Designer/Builder of MVAmps.

Donna Summer-Spring Affair 1976

2011-07-07T08:29:00.000-07:00

Look At How Sexy Ms Pattie Brooks Is Middle Back Up Singer.

"Spring Affair" is a song by Donna Summer from her 1976 album Four Seasons of Love. The song (which represents the "spring" phase of the concept album) tells of the beginning of a new relationship. At the time of its release, Summer had already started to make her name as the leading female disco singer by releasing frankly sexual songs that were considerable in length. In its entirety "Spring Affair" lasted over eight minutes, though it was edited down for its release as a single.

Pattie Brooks and Yvette Marine Barlowe live at Vitello's

2011-07-07T08:11:00.000-07:00

Pattie Brooks, Disco Diva & Yvette Marine, of Mary Jane Girl fame, help out with backing vocals for Singer/songwriter Scott Snapp's show at Vitello's.

DONNA SUMMER & PATTIE BROOKS in the background ''YOU'RE SO BEAUTIFUL'''

2011-07-07T07:58:00.001-07:00

"You're So Beautiful" is a song recorded by Donna Summer in 2003.

Despite the fact that the song wasn't given a commercial release as a single, but included as one of three new tracks on Universal's greatest hits package The Journey: The Very Best of Donna Summer and only released as a 12" promo single to club DJs, "You're So Beautiful" became a dance hit, reaching #5 on the US Club Play Chart and #16 on Dance Airplay.

In 2005 the track was included on a second Universal compilation, Gold.

Jamie Lewis feat Cynthia Manley - Sunshine Hotel (Video Version)

2011-07-05T18:11:00.000-07:00

The new Jamie Lewis production is ready and he returns together with Glamour Girl & L.A Diva Cynthia Manley who reached number 1 on the official Billboard Charts with Aint no Mountain high enough back in the 80's.Lewis and Manley are the perfect couple to create this explosive mix of disco & todays House Music.So everybody is welcome to the Sunshine Hotel.
Buy a Download!!!!!!!!!!!!!

Scherrie Payne

2011-07-05T18:06:00.000-07:00

Moving forward with Scherrie Payne's new single, LET YOURSELF GO. Currently, we are reaching out to remixers to put the magic touches on the song so that we will have a Supreme package for a September, 2011 release. Scherrie has never sounded so good. In the meantime, don't forget her years with the Supremes is out and available for purchase!

Rick Gianatos

http://www.amazon.com/Let-Yourself-Go-1974-1977-Sessions/dp/B004ORHX00/ref=sr_1_1?s=music&ie=UTF8&qid=1309861121&sr=1-1

REISSUE: "Back To Music" by Theo Vaness - Disco Video Mix by Glenn Rivera

2011-06-24T10:11:00.000-07:00

Theo Vaness recorded his first LP titled, "Back To Music" - produced by Michaele, Lana and Paul Sebastian. This project was another sign that Euro-disco was on the rise. Disco dance floors loved moving to the beautiful sounds of strings and horns as well as bass and the disco beat.

"Back To Music" was originally released as a full-blown medley featuring a tribute to The Beatles, Brahms, Bob Dylan and other pop and musicians. The US release (which is used her as an edit) was remixed by Jim Burgess and featured snippets of the complete production.

I have taken the 1998 film, "54" which stars Ryan Phillipe, Salma Hyek, Neve Campbell and Mike Meyers playing disco dance palace founder and owner, Steve Rubell. I have used scenes from the film to outline a short storyboard using Vaness' medley as the foundation.

Featuring scenes from "54" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

Cory Daye-Wiggle & A Giggle All Night

2011-06-24T09:37:00.000-07:00

With her light, airy vocals, Bronx-born Cory Daye helped to transform Dr. Buzzard's Original Savannah Band into one of the most exciting bands of the late-'70s disco era. Creating some of the earliest disco recordings, Daye and Dr. Buzzard's Original Savannah Band skillfully mixed big band, swing, jump blues, Broadway tunes, and Caribbean influences into their infectious dance music.

After three albums with Dr. Buzzard's Original Savannah Band, Cory Daye enlisted the songwriting and production of Sandy Linzer to replicate her former band's sound on her solo debut, Cory and Me. Linzer was a particularly appropriate match for Daye, since he had already worked with Odyssey on their Dr. Buzzard-inspired disco classic "Native New Yorker." Perhaps hoping for similar Top 40 success, Daye seems more commercially motivated on Cory and Me, but that accessibility works wonders on the two opening cuts, "Green Light" and "Pow Wow." On both songs, Daye uses her playfully expressive voice to transform the potentially hokey lyrics into irresistible verses. Linzer combines propulsive beats with climactic orchestration and uses musical shifts and timely special effects to build momentum during extended instrumental breaks. Daye's charm and enthusiasm are contagious throughout, but the rest of the songs fail to match her energy level, and the scattered Dr. Buzzard touches often seem diluted by the album's mainstream ambitions. Nevertheless, most Dr. Buzzard followers will probably enjoy the familiarity of Cory and Me, and the album may also appeal to fans of late-'70s disco divas who are unfamiliar with Daye's considerable talents.

Jamie Lewis featuring Cynthia Manley,Sunshine Hotel!

2011-06-21T15:22:00.000-07:00

Written by Jamie Lewis & Cynthia Manley
Produced arranged and mixed by Jamie Lewis for Purple Music
Vocal performance by Cynthia Manley
additional Keys & Eng by Grooveprofessor
Mastered at the J Sunny Hill
Published by Purple Publishing & BMI
P C 2011 Purple music
contact:info@purplemusic.ch
ph: 41522122238
www.purplemusic.ch

Maybe This Time - Debbie Jacobs, Viola Wills, Norma Lewis

2011-06-18T10:25:00.000-07:00

So the story goes. Viola Wills was originally set to release her version of Maybe This Time. Unable to reach a deal with the record company, Debbie Jacobs was brought in to record her version. Viola's team fought it's release. In the meantime, Norma Lewis recorded her version and it was released as an import, stealing the thunder from both Viola and Debbie. Norma's version went on to become the bigger hit, while Debbie's unreleased track was a huge underground hit.
Viola finally got around to releasing her version to little fanfare.

Debbie Jacobs - Maybe This Time [Vocal Remix] by singerling

Norma Lewis - Maybe This Time [Disconet Remix] by singerling

Viola Wills - Maybe This Time [12 Remix} by singerling

"I Am Woman" by Jessica Williams - Disco Video Mix by Glenn Rivera

2011-06-18T08:54:00.000-07:00

Jessica Williams has been a part of disco music during the vital years - from Arpeggio to French Kiss.

It is no wonder that her talent take on a new representation in 1999 with a techno-dance cover of Helen Reddy's 1972 hit "I Am Woman" - produced by Ray Burton. The track was featured in the film, "Trick" and cleverly so.

I have taken the production in a new realm along with the 1982 comedy, "Tootsie" starring Dustin Hoffman, Jessica Lange and Terri Garr - it is obvious where the connection is - a mouth full of laughs and great spotlight by Dustin!

Featuring scenes from "Tootsie" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

"Party Boys" - ReStructure Mix by Glenn Rivera - Foxy

2011-06-18T08:46:00.000-07:00

Foxy brought a unique blend of funk/soul and a definite disco drive to dance floors in the late 70s. Lead by the very talented Ish Ledesma, the band created disco classics "Get Off" and "Hot Number". In 1979 their vinyl LP "Party Boys" completed set.

"Party Boys" was remixed and released in 1980 by Mike Lewis and brought the energy to dance floors and the excitement of disco music all over again. A fantastic breakdown of the album version and much more of of a crowd pleaser. I have taken the TK 12" single and gave it a ReStructure Mix with a few more tic-toc's and chopping to give the mix a new feel.

Dedicated to Ish Ledesma and the "Party Boys"! Those nights of being expelled from the club were worth it!

Interview with Laurin Rinder

2011-06-06T09:21:00.000-07:00

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped define the Disco sound that was coming out of Los Angeles. They did this through their work on such studio projects as El Coco, Saint Tropez, Le Pamplemousse and countless others. In addition, they wrote the music to 525 television shows ("In Search Of," "That's Incredible"), 35 films and produced 46 albums.

In early 2001, I was most honored to speak with Laurin and we were able to touch upon many interesting subjects including his musical career. Read on for some fascinating insights into the making of Disco music and how great things come about merely by chance. As with many things in life, it was a matter of being at the right place at the right time.

Laurin's musical career did not begin with Disco. It actually started back in the early 1950s during rock and roll's infancy. In fact, Jazz and big band had first won over Laurin during his teenage years.

Born in Los Angeles, California on April 3, 1943 he knew by the age of six that he wanted to be a musician. At seven, he was playing the trumpet. His father, who was an understudy for Bing Crosby during the 1930s and 40s, encouraged Laurin to play and later built him a drum set out of trashcans and corrugated boxes. Soon the trumpet gave way to the saxophone and then finally the drums and the reason for this was that Laurin felt that the drummers in his junior high school band were having more fun. I asked him if the drummer really had more fun and he emphatically replies, "Yes-absolutely. Drummers always have more fun."

He continued with the drums and played on his first album as a session drummer in 1953 while only ten years old. During his sophomore year, he decided to drop out of high school to pursue music on a full time basis by playing with local bands around Los Angeles. The first band he played with was Dick D'Augustine and the Swingers who had a local hit with a tune called "Nancy Lynn."

Laurin Rinder and Jazz

At nineteen, Laurin took a correspondence course to the Berkeley School of Jazz and devoted his life to music. The great jazz artists of the day such as Davis, Monk and Mingus were his influences. Every minute was spent on music and as he says, "there was no time for anything else-there really wasn't." I asked Laurin why he felt so confident about quitting high school at such a young age to pursue music and he replies, "It was an obsession. It was so strong that I can't even begin to tell you." He continues by explaining that school was not teaching him what he wanted to learn and that he was not interested in history or phys-ed.

Laurin was among the first in a small group of young musicians that played rock and roll in Hollywood during the mid 1950s. There was a shortage of drummers since little if any of the older musicians who were in there thirties, forties and fifties wanted to play this new style of music. Rock and roll in its infancy was essentially gritty blues, r & b, rockabilly or country western. Something the older players felt they were above. This is very important to note since this will eventually explain how Laurin morphed from early blues influenced rock and roll and jazz in the 1950s to Motown in the 1960s and later Disco in the 1970s.

In essence, one can draw parallels between rock and roll's gradual shift away from its Black and rural roots and Disco's transition from its Black, Hispanic and underground roots to the more sterilized and bleached styling of the Bee Gee's and the Studio 54 set in the late 1970s.

During the period between 1956 to around 1963 Laurin claims to have played in roughly about half of the music that was released during that time. Non-stop session work paid the bills. They were given a meager $25.00 and a pizza to perform and never received credit on the record label. Laurin says, "Especially with Motown, you didn't know the artist you were playing on until the record came out. We would play on two tracks and do a two and a half-minute ditty song and it would be me (on drums), piano, bass and maybe a little guitarno one rehearsed. We just did this thing and there were tons of mistakes and it was all about the feeling and I still believe that's what it's all about anyway."

Laurin Rinder & the Motown Years

In the early 1960s Laurin made the move to Detroit and was part of early Motown history along with friend Bernard Purdy. While now based in Detroit he continued to travel and do Philly, Miami, Muscle Schoals in Alabama and played on Arthur Prysock, Anita O'Day and Billy Eckstein among others and even traveled extensively with James Brown, Muddy Waters, Jimmy Reed and John Hooker by bus throughout the South. R & B was always his thing and he was usually the only white player in a black group. He felt a connection with them because of his jazz roots. Las Vegas also figured into his travels were he even did comedy as part of "Rinder, Ryder and the Swinging Brass" around 1966-67. When asked why so many different things under his belt his only reply is, "I'm an opportunist. I look for the door and go through it." Did this drive come back to bite him in this ass? "No," is what he quickly blurts out. "I've been extremely lucky in that I've always had work and got paid well. Things got a little thin in the early 1970s when we were doing hard rock and at this time is when Michael (Lewis) comes in."

The Arrival Of W. Michael Lewis

Around 1968 Laurin was living in Laguna Beach, California when he called his good friend Dick Dodd, who was the lead singer of the group The Standells, to arrange for an audition. The Standells were a Rolling Stones type outfit with songs like "Good Guys Don't Wear White" to their credit. Michael, who hailed from Alabama, was the keyboard player and had just come from another group, called We Five, which was a Kingston Trio folk-like deal and had performed on Percy Sledge's "When A Man Loves A Woman." The two met and later went on to form a hard rock group called Joshua. It was a six-piece group comprised of members of the Righteous Brothers and Bonnie and Delaney. Together they played many concerts and venues with such superstars as The Eagles.

The members start to fragment, but the bands owner, Seymour Heller who was the president of "The Conference of the Personal Managers of the World" which had controlling interests of such stars as Liberace and Debbie Reynolds had other plans for Rinder and Lewis. Heller was also the owner of "Producer's Workshop" and partners with Ray Harris in the "American Variety International" record label or AVI for short.

Laurin and Michael still in their acid dropping hard rock stage and long hair would stop in at AVI to talk. It was here around 1973 that they were asked by Harris if they knew anything about "this new music called Disco" to which Laurin shrugged and said, "Na, I don't know anything' about that." They were then asked if they would like to go into the studio and try something out. The two were like, "Ya sure, whatever" They just knew that it paid well and they were capable of doing the work.

The Simon Soussan Projects

They go into the studio and meet with Simon Soussan who is best known for his later work on Arpeggio's "Love and Desire" and French Kiss' "Panic." Soussan who was originally from the middle east and in the profitable clothing business had told the two that he wanted to buy up old R & B masters to such classics as "Going To A Go-Go" and have Rinder & Lewis play over them. Soussan's idea was to remaster, remix and extend them to update the sound. In other words, make them more danceable. To Laurin, it was just another session and Soussan paid very well. It was a done deal.

Laurin recalls, "We went in and did all this stuff and we were the first ones to do this thing. And I was putting in these sh, sh, sh hi-hat things on R & B songs that turned into Disco songs. Then I said why don't we start using bells and whistles and I do some strange sounds like ew-ee, ew-eewe'll put breaks into it and play some bass drumboom-boom and who cares" to which everyone agreed.

A very famous gay Disco called Studio One was near Laurin's home so one night Laurin and Michael, who are straight, decided to stop by and see what this new Disco music scene was all about. Laurin says they discovered the following, "they were playing real old stuff, but kind of remixing them on the board and making them longer and taking two turntables that nobody had ever heard of and combining different things and we kept saying wow, this is weird." The two found themselves dumbfounded. Laurin said that their first impression was, "My God, what are they doing? They're like screwing around with these great old songs." I asked if they were intrigued or horrified and Laurin's answer was "intrigued, very intrigued." It was annoying to them at first since here is a record company (AVI) that was willing to pay them loads of money to do this easy stuff when they were pros. They were jazz musicians who could read and write music. Now a Disco DJ who had no formal training in music controlled the floor and was essentially stripping them of their powers. The Disco DJs were taking the music away from the musicians, but they could not help noticing that the crowd was eating it up. "People were going nuts." Laurin's attitude was "if that's what they want, we'll give it to them. I saw a window of opportunity I have this record company with all this fucking money, and they're going to pay us to do this thing. We can do this with no problem at all."

One of the first Disco songs that caught Laurin's attention was Van McCoys' "The Hustle" to which he thought, "Wow, this is musical, (humming the song)this is interesting, it's like mindless. It really was. It was over-orchestrated, kind of jingle-ee stupid stuff that was a 120 beats a minute."

Long time friend Barry White comes along and releases "It's Ecstasy When You Lay Down Next To Me" in 1976. A song that stuck with Laurin ever since Barry had played it for him long before it was ever released. Laurin took the track and changed the lyrics to make it become "Le Spank" which he released under the studio project Le Pamplemousse.

Within a two-month stretch they pounded out tons of material with the first one being El Coco's "Let Get It Together." When I asked Laurin how the name El Coco came about he readily admits, "We were doing a lot of cocaineit was pretty much that simple my friend." I then asked about the making of "Let's Get It Together" and he informed me that a traveling actress/singer by the name of Merria Ross was given studio time by AVI heads to record a song she had written called, "Let's Get It Together." Laurin "fleshed out" the rest of the song and Merria was given writing credits. They all went into the studio and and the verse Lets Get It Together was all that Merria ever sang, After this break, Merria went on to have charting song with Randy Crawford, High Energy and was nominated for a Grammy for "Finger On the Trigger" with Quincy Jones and Rod Temperton (of Michael jackson's "Thriller" fame)

There was so much material that whatever didn't work for El Coco then went to Le Pamplemousse. The third tier was then Sweet Potato Pie and so on. So, whatever material didn't work for one studio group went to another until it found a home. The only thing that would change between each group was the back up singers they would hire for each project. In fact, Laurin tells me that the musicians listed on the credits on the Le Pamplemousse album are fictitious. Laurin proudly exclaims, "None of them existed, Mike and I played all the instrumentson every album. Every single album."

The Seven Deadly Sins

I then asked Laurin why the "Seven Deadly Sins" album credits Laurin and Michael as playing all instruments as opposed to the fictitious names of earlier albums. He acknowledges that it was getting tough to accept Disco awards for El Coco, Saint Tropez and Le Pamplemousse. When they went up, they had to use the excuse; "the group can't be here now because they are busy on tour." Since "Seven Deadly Sins" was a concept album, they decided to come clean and admit that they performed all the instruments. He gave me the reason why they made up the musician's names in the first place. "We were scared to death that someone would find out about us. We were very legitimate guys. We were rock and rollers and when someone said 'You wanna do Disco?' we thought it was the biggest cop-out that you could possibly ever do." I asked Laurin if they were embarrassed to which he said, "Absolutely." And when asked how he feels about it today, "It was a great time. Zero regrets"

RinLew All-Stars

The "Warriors" album soon followed proudly proclaiming that Laurin and Michael played all instruments. Freedom at last! An interesting side-note: during the making of that album, Laurin and his dad went down to Alabama to visit Michael and his dad. The highlight of the trip was to take both fathers out fishing. On one of those days, Laurin quickly snapped a photo of the two fathers and chose to use that picture for the upcoming album cover. Another album under the name The RinLew All-Stars featured musicians they had worked with in the past.

We now get into the recording aspect of things and discover that some basic concepts have been changed to facilitate this tremendous output of material. Laurin explains that, "We changed the way recording happened. We started with a bass drum. And we laid down a track of a bass drum for ten minutes. Just boom, boom, boom Then we started piling things on top of things, on top of thingsand then tons of editing." This differed from the standard practice of starting with piano, bass and drum. At this stage, they were using over forty tracks to produce their music, which was a far cry from the two tracks of just twenty years earlier.

Around 1978 as El Coco and Le Pamplemousse were becoming ever popular, their promotions man, A. J. Cervantes, whose dad was the mayor of St. Louis, asked if they would become producers for his new label Butterfly Records. The first project was Tuxedo Junction, which was to be a retro group. Laurin went to Bill Warlow the then head of Billboard and asked for the microfilm for all the songs that charted number one from 1930 to about 1943. He soon had a playlist from which to choose. They went down the list and selected all the songs they felt would be adaptable to dance music. Since Laurin had many friends from the big band days, he went about to try and get as many of the original players of the day to perform on the album. They got the oldest players that the AFM had and the oldest female singers that AFTRA had.

The big band flair of the Tuxedo Junction album was well received upon its release. To expand upon the concept further, they decided to do a racier version of it, but sung in French. This was to be called Saint Tropez and would have lush string arrangements. At the time Laurin and the record people had this thing for bisexual woman so they went with that as the basis for the songs like "Je T'Aime" and "Belle deJour" about the loving of two woman. And one look at the cover and gatefold photos verifies that.

The later incarnation of Saint Tropez was quite different from the French debut. "One More Minute" was a result of a cassette submission to Laurin who then ran with the idea. He likes to say that if someone gives him a title or idea he can come up with a song. With at least five groups to gather material for one has to be able to have constant ideas to work with. The two were also busy writing music for popular television shows such as "National Geographic, "The Barbara Walter's Special" and also a slew of films most notably martial arts flicks like the "Ninja" series and "Shogun Assassins."

The Arrival of the 1980's

As the 1980s were approaching Laurin and Michael became increasingly involved with television as opposed to Disco since there was more money to be made and they were sick of suing record labels for their fair share. There was accountability in television and film whereas in music there really was none. Around 1982 is when Laurin says he bowed out of music and by around 1985 had stopped his television work as well. Seeing as he had built up a comfortable annuity from royalties he spent time travelling and even got married more than once. There was even a time where he opened a men's and women's clothing store in Santa Monica, but was wiped out in the big earthquake of 1994. He would later host a fishing show on ESPN called "Charlie's Anglers" for about a year and a half. Fishing is something he has been enjoying since his father took him as a child.

Laurin now spends his time painting with oils. Something he picked up purely by accident during his time when he was landscaping and designing. He stuck a small brush into some watercolors, was hooked, and later took some course at UCLA. He now has galleries in LA and collectors from all over the world who proudly display his paintings. He told me that he needed an abstract and creative outlet since he was not able to play the drums anymore. Abstract painting filled that void. He calls it the jazz of painting.

One thing that becomes apparent when one speaks with Laurin is that he is someone who will seize an opportunity and work it till he sees the desired results. He is truly a major part of modern musical history with his talents spanning a good part of the second half of the twentieth century. He was an integral part in the beginning of rock and roll, Motown and finally Disco. It was an honor and pleasure to be able to speak with him and he was most gracious and forthcoming. Thank you Laurin for your time.

Below is a list of the many projects that Laurin was involved with.

RINLEW PRODUCTION COMPANY
Records: (production, composition, arrangements)

El Coco

"Mondo Disco" - AVI (USA) AVI 1039 - 1975
"Brazil Carnival" - AVI (USA) AVI 1040 - 1976
"Let's get it together" - AVI (USA) AVI 6006 - 1976
"Cocomotion" - AVI (USA) AVI 6012 - 1977
"Dancing in Paradise" - AVI (USA) AVI 6044 - 1978
"Love Exciter/Dance Man" (non album tracks ) - AVI (USA) AVI-12-270-D (1979)
"Cocomotion '79" (instrumental) b/w Segue:Afrodesia/Coco Kane (Remixes) - AVI (USA) AVI 12-294-D (1979)
"Revolucin" - AVI (USA) AVI 6082 - 1980
"El Coco" - AVI (USA) AVI 6102 - 1982
"Collectables" - AVI (USA) AVI 6113 - 1982

Tuxedo Junction

"Tuxedo Junction I"
"Take The A Train"

Saint Tropez / St. Tropez

"Je T'aime"
"Belle De Jour"
"Hot And Nasty"
"Feme Fatales"

Eloise Whitaker

"Eloise Whitaker"
"Weezy"

Doug Richardson

"Night Talk"

Rinder and Lewis

"Seven Deadly Sins"
"Warriors"
"Cataclysm"
"Full Circle"
"Half Circle"

Le Pamplemousse

"Le Pamplemousse"
"Le Spank"
"Sweet Magic"
"Planet Of Love"
"Le Pamplemousse 1980"
"My Love is Burning Up"

David Benoit

"Heavier Than Yesterday"
"Can You imagine"
"Stages"

L.A. Bullets

"L.A. Bullets"

Rinlew Allstars

"Rinlew Allstars"

Take Five

"Take Five Now"

Runner

"Maybe I'm Right"

TOP 35 RECORDS (production, composition, arrangements)

"Let's Get it Together"
"Cocomotion"
"Chatanooga Choo Choo"
"Le Spank"
"Gimmie What You Got"
"Mondo Disco"
"Take The A Train"
"Willie and the Hand Jive"
"I'm Mad as Hell"
"Toot Toot Tootsie"
"Carry Me"
"Planet of Love"
"Sweet Magic"
"Tomorrow Night"
"Lust"
"Dancing in Paradise"
"One More Minute"
"African Symphony"
"Seven Deadly Sins"
"Je T'aime"
"Belle De Jour"
"Rainy Night in Rio"
"Monkey See, Monkey Do"
"Under Construction"
"Just Be You"
"Hooray for Hollywood"
"Don't Turn Your Back"
"I Wanna Do Something Freaky To You"
"Love Stealers"
"I've Been Watching You"
"Femme Fatales"
"On A Rien A Pedre"
"Fill My Life With Love"
"Love Exciter"
"Fait Le Chat"

TELEVISION (production, composition)

"In Search Of" Alan Landsburg Prods. Theme & Multiples
"Fawn Story" ABC Afterschool Special Score
"That's Incredible" ABC Multiples
"Barbara Walters Specials" ABC Theme & Multiples
"Those Amazing Animals" ABC Multiples
"Catastrophe" ABC Mini-Series Theme
"Making of Raiders of the Lost Ark" NBC

DOCUMENTARY

"Making of Star Wars" NBC Theme
"Snow in L.A." ABC Documentary
"World's Greatest Mysteries" ABC Series

FEATURE FILMS (composition, complete score production)

"Enter the Ninja" Columbia Pictures
"Shogun Assassin" New World Films
"New Year's Evil" Cannon Films
"Secret of the Bermuda Triangle" Warner Bros.
"The Killing of America" Renan Productions
"Love is Just a Word" Independent
"The Ballad of Gregorio Cortez" United Artists
"The 3-D Movie" Columbia Pictures

The End

An Interview with John Davis

2011-06-06T09:12:00.000-07:00

An interview with John Davis who in the 1970s and 1980s produced, arranged and worked with some of the biggest names in the music business including Bobby Eli (from MFSB), Barbara Ingram, Carla Benson, Yvette Benton (The Sweethearts of Sigma), William DeVaughn, Arthur Prysock, The Intruders, Ricky Nelson, Bootsy Collins (of Parliament), Rhonda Heath, The Salsoul Orchestra, Silver Convention, Carol Douglas, Charo, Donna Summer and more. Interview with John Davis conducted by Eric Warncke.
Let me tell you a little bit more about John Davis! He started out writing music in college and then later went on to become a band leader and composer while he was in the Army. In the 1970s and 1980s he produced, arranged and worked with some of the biggest names in the music business including Bobby Eli (from MFSB), Barbara Ingram, Carla Benson, Yvette Benton (The Sweethearts of Sigma), William DeVaughn, Arthur Prysock, The Intruders, Ricky Nelson, Bootsy Collins (of Parliament), Rhonda Heath, The Salsoul Orchestra, Silver Convention, Carol Douglas, Charo, Donna Summer and more. He also released 5 of his own albums under the name John Davis and The Monster Orchestra between 1976 and 1981. In the 1980s and 90s John started working as a composer for television and made music for the shows Dynasty, The Colbys, MacGyver, TJ Hooker, Mission: Impossible the series and Beverly Hills 90210 (the new and old version).

Today John is living in Ohio with his wife and has 3 daughters and recently became a grandfather! Here is the first part of my interview with John Davis!

1. Where were you born and what were your parents names?

John Davis:
I was born in Philadelphia, PA in 1947. I was an identical twin to my brother, Joe Davis. He went on to become one of the best trumpet players in the business and enjoyed a great career as a studio musician and many tours and live shows. My parents, John and Luciene Davis, were just regular folks who worked in Philly - but nowhere near the music business. My Dad worked for the board of Education and my mother worked at our local bank.

2. Did you have a musical home when you were growing up and did you learn any instruments at an early age?

John Davis:
While growing up, my Dad, in particular, was a huge fan of the big band era and always had big band music playing in the house. When I was 9 years old I got a plastic clarinet for Christmas. I loved playing that silly thing until next year I got a real clarinet to play in the school band. Not having a lot of extra money, I studied with a teacher at school until I got to Junior High School where I began to show some talent on this instrument. I can still remember sitting on the floor and listening to Glen Millers band and thinking how wonderful it would be to be able to write stuff like that.

3. Did you have any high schools bands or projects before the Monster Orchestra? What was the first record you ever worked on?

John Davis:
When I got to high school, I had become pretty good on clarinet and had begun playing the sax in the jazz band at school. My "reputation" had grown to the point where I was invited to join the US Naval Academy Band in Annapolis, MD when I graduated from high school. It was here that I actually began to write for a band. I had access to a jazz band, concert band and a marching band. I was writing for everything because I could have them play it back and actually hear what certain instrumental combinations would sound like. After writing a few things for the band there, I submitted one song to a publisher, and it was published for high school bands. I remember it was called "Nightfall".

4. Who were your biggest influences, musically and otherwise when you first started writing music?

John Davis:
At that time I was pretty well influenced by the big band sound and classical music. Then, I remember hearing a record on the radio that just totally blew me away - it was MacArthur Park - the Richard Harris version. I had never thought about combining the pop sound with an orchestra. It was such an exciting time for me that I just began hearing and studying writers like Bacharach and Davis, Jimmy Webb, Ashford and Simpson and many more. After getting out of the service, I started work for a company in Philly. It was there that I was sent to the studio to produce an artist named William DeVaughn. I wasn't very experienced in the studio, but managed to come out with "Be Thankful For What You Got" which became a #1 million seller in 1974. Of course, this opened the doors for me to start getting other projects on my own.

5. How did you team up with guys like Bobby Eli, "Sugarbear" Foreman and Charles Collins and how did you meet the Sweethearts of Sigma, Barbara Ingram, Carla Benson and Yvette Benton?

John Davis:
Being in Philadelphia, one could not exist without acknowledging these musical giants in my back yard. The first time I worked with the "rhythm section" (Bobby Eli, Sugarbear and Charles Collins) was on "Be Thankful For What You Got" and it was so successful that we became not only colleagues, but good friends as well! I always was, and will always be thankful for the years we spent together.

After that, I recorded "I Just Can't Say Goodbye" with the Philly Devotions, and "Midnight Love Affair" with Carol Douglas. I believe this is where Harry Chipetz, the general manager of Sigma Sound Studio started calling me "Monster". We never knew how much fun I would have with that name.

The first time I worked with the Sweethearts was on Night and Day with the Monster Orchestra. I'll never forget how beautiful they were and the sound was like cream in my coffee. It was truly an honor to work with them. I also have to credit Tom Moulton for giving me such new perspectives on mixing and just plain listening. It was always a pleasure working with Tom.

6. What was the experience of getting signed to Sam Records and Columbia Records like?

John Davis:
Sam Weiss (the owner of Sam Records) and I had a great relationship. I always felt like a son with Sam. When we went to Columbia, it seemed to change things between us. It felt more serious and frankly, some of the fun went out of it for me. The idea of having a little more control over my product meant more to me than being with a big label like Columbia. Unfortunately, this happened in 1978 when things were starting to slow down, and I was feeling a bit lost at the new label.I really thought I had a smash with Love Magic, but we never got enough radio support to get it through the clubs and onto radio. It was a big disappointment for me. But then, I would have to say we sold more records than ever with CBS so I guess it was a double edged sword.

7. You had a creative frenzy from 1976 - 1981 releasing 5 records; Night & Day, Up Jumped The Devil, Aint That Enough For You, The Monster Orchestra Strikes Again! and a split called Hangin' Out with a band called La Pregunta in 1981. What was the experience like of producing, writing and promoting these albums?

John Davis:
Those years, from 1974 - 1984 were the most fun years of my life. When I signed with Sam Weiss it opened a path for me to be in total control of my product. Writing, arranging, playing and producing with the best musicians and singers in the world - who could ask for more? I remember everyday, getting up and looking forward with joy to the day ahead. I knew I would be doing what I love with the people I loved and respected the most. After the Night and Day album, Sam and I felt we should do something original so we wouldn't become predictable. This is where I got my first opportunity to "go crazy". He basically said to go where you want and get him a hit. The first thought I had was "Up Jumped The Devil". It became a huge dance hit and opened the door for The Monster Orchestra to become more original and innovative. That was the really fun part!

8. What led you to stop making records after 1981's Hangin' Out and switch to making music for shows like Dynasty and Beverly Hills 90210?

John Davis:
I'm not sure whether I stopped making records, or people stopped calling, but in 1980, I decided to take a trip to LA and visit my pal Bob Reno from Midland records. He had just moved there and asked me if I would like to try my hand at writing for TV shows. I just had twin daughters and felt I better make this move now, because the future of the record biz seemed to be getting shaky. I got there and met with Mark Snow, a composer of countless TV shows. He got me started by working with him on Hart to Hart. After that, I continued to work for Aaron Spelling for 20 years. I did TV show like Beverly Hill, 90210, Melrose Place, Dynasty, T.J. Hooker, Walker, Texas Ranger, Hotel and many, many others.

9. Do you have any musical plans for the future like releasing a greatest hits package or a new album?

John Davis:
I have no current plans for future projects, but I'm available! (LOL) As far as a greatest hits album, you would have to talk to Mike Weiss at Nervous Records. He controls the master tapes. I'm sure if there was enough interest, he would release one.

THE END

Glenn Hughes (Village People)

2011-06-06T09:01:00.000-07:00

Glenn M. Hughes (July 18, 1950 – March 4, 2001) was the original "Biker" character in the disco group Village People from 1977 to 1996. He graduated Class of 1968 from Chaminade High School, then attending Manhattan College, where he was initiated as a member of Phi Mu Alpha Sinfonia music fraternity in 1969. He was interested in motorcycles, and was working as a toll collector at the Brooklyn-Battery Tunnel when he responded to an advertisement by composer Jacques Morali seeking "macho" singers and dancers. Hughes and other members of the band were given a crash course in the synchronized dance choreography that later typified the group's live performances.
Glenn's powerful bass voice played an important part in the background lyrics of almost all Village People's most known hits, such as In The Navy. He sported an extravagant horseshoe moustache and wore his trademark leather outfit on stage and off. As he was the band's "biker" and a real life fanatic, he kept his motorcycle parked inside his home. With Village People gaining fame, Hughes became one of the icons of the disco era, even appearing in a special television broadcast in Playboy Mansion with Hugh Hefner.
In 1996, he retired from dancing and launched his own successful New York cabaret act, which kept him busy until he was diagnosed with lung cancer. He was replaced by Eric Anzalone as the Biker character. However, Hughes continued with management of the band. During his later years, he was known for storming the streets of New York with his Custom Harley-Davidson motorcycle. Hughes, who was also referred to by the masses as "Leatherman", was named on People Magazine's 1979 list of most beautiful people.
Hughes died in March 2001, aged 50, at his Manhattan apartment from lung cancer. He was subsequently interred (wearing his leatherman outfit) at Saint Charles Cemetery (Section 43, Row M, Plot 63) in Farmingdale, Long Island, New York.

Tony Valor

2011-06-06T05:28:00.000-07:00

Written By Bernard F. Lopez

Disco record producer and manager Tony Valor

It sometimes seems as though Disco music appeared out of nowhere in the 1970’s, but the people who made it all happen actually go much further back. Many artists and producers took their experiences with older styles of music and used them as the basis for their forays into Disco and dance. One such Disco notable is Tony Valor who teamed up with Tom Moulton to form T. N. T. Productions as well as produce and write for Maryann Farra & Satin Soul, the Tony Valor Sounds Orchestra, Soccer and Fantasy. Tony Valor has worn many hats in his lifetime including being a singer, producer, manager, studio engineer, radio station DJ, New York City policeman and a music industry lawyer. Read on to find out how it all came about.

Tony Valor's Pre-Disco Years

Tony Valor was born in Sicily, but at the age of one his family moved to Brooklyn, NY where he would stay well into his adult years. His father a dancer and record shop owner instilled music in the younger Valor and encouraged him to sing as well as learn to play the piano, guitar and drums. By the time he reached his teens Valor was singing on street corners in Brooklyn in a sort of doo-wop style that caught the attention of an executive of Music Note Records. This led to Valor recording some vocal tracks in the late 1950’s-early 1960’s such as "So Tenderly" under his own name. In fact some of these songs were re-released as part of a compilation entitled the "Best of Music Note / Music Tone Records."

Music Note / Music Tone Records compilation feat. Tony Valor material

Through the 1960’s Valor sang vocals with other groups such as The Impalas and The Classics ("Until Then"), but realized he needed to expand and do other things such as producing. Valor says, "I started to work with other acts, but as a performer I really was not going to do well." In order to pursue producing, Valor also wanted to learn how to be an engineer in a recording studio. Mario Rossi of Rossi Studios in Brooklyn kindly offered to teach Valor the very basics of running a 4 track-recording console. For an hour a day over a two-week period Valor absorbed as much as he could. To try out his new found skills he invited a lounge act to come in the studio to be recorded. Valor admits, "It took me several hours to get the drums miked, which normally took an experienced engineer about an hour at that time." Despite the learning curve and trials and errors the recording was released commercially.

Maryann Farra & Satin Soul

Maryann Farra & Satin Soul At Brunswick Records

By the 1970’s Valor had honed his skills and started working for the legendary Brunswick Records label. It was here that he would begin working with a group that would put Brunswick Records on the Disco map. This group Maryann Farra & Satin Soul originally were known as Maryann Farra and the Genesis.

By 1976 Tony Valor had groomed Maryann Farra & Satin Soul’s sound and released "Do Those Little Things" b/w "Just A Little Timing" as the first 12-inch Disco single (DIS CO207) on Brunswick Records. The record was more successful in Europe than back at home in the U. S. Valor says, We did get a lot of play, but we didn’t get what everyone else was getting. Yet, we were the most copied style. It wasn’t the best-produced thing since it was my earlier stuff, but it was just different."

Carol Williams was a vocalist on the Tony Valor production "Love has Come My Way"

Brunswick Records, originally formed in the 1920's, was best known for Chicago Soul and R & B sounds. Valor, who had ascended to the position of VP at Brunswick, was expanding the repertoire with music that appealed to many of Brunswick’s Europeans licensees. What Valor was doing was flirting with what was to become early Disco music. He explains that the music of Satin Soul was very different, "I liked R & B vocals with a pop track and that’s what I kind of did. …In the early days on Brunswick besides my work on groups like Touch and Maryann Farra I also put out an album on my own with just the music-just instrumentals so the DJs could play around with it."

The record in question was released under the name Tony Valor Sounds Orchestra (BL-754210). It was a name first coined by Tom Moulton. Valor tells the story, "Tom Moulton gave it the name when he heard the different things I would do in the studio, which was a way of saving money, but I would create things that Tom Moulton loved. Moulton would say, ‘Oh, you did that cheap-that’s where your name comes from-cheap velvet.’ Moulton gave me the name Tony Valor Sounds Orchestra because it sounded like an orchestra, but it wasn’t."

Tom Moulton and Tony Valor

Tony Valor originally met Tom Moulton through their work for De-Lite Records. The president of De-Lite wanted to release a Valor production and said he wanted to give it to Moulton to remix. In the studio the two got along very well and Valor adds, "Tom Moulton loved my stuff because it was so unusual. The way I did things was like…I saved a lot of money by cutting a lot of corners. That’s how we came together and teamed up and formed T. N. T. Productions. Tom had great ears for sound-he was great." Their collaborations included material for Tony Valor Sounds Orchestra, Touch (Energizer: Brunswick BL-754214), Jeannie Napoli (De-Lite) and others. In short time Moulton became very busy with outside remix assignments and the two parted ways, but have remained good friends till this day.

Barry White and "Ma-Mo-Ah"

The first song put out under the Tony Valor Sounds Orchestra was "Ma-Mo-Ah, on a 7 inch single and later as a Brunswick 12 inch single in 1977 as "Ma-Mo-Ah (Take II)." The Take II stems from the fact that although this is the version we all know it is actually a remix by Tom Moulton with added percussion. When asked how he came up with the title "Ma-Mo-Ah" Valor responds, "I was in Los Angeles with Barry White. He had just finished a concert and I was backstage. He walked into the dressing room and his mother was there and he said ‘Ah, Ma-Mo-Ah’-that’s what he used to call his mom and I said, ‘Gee, I like that." When I got back to New York I produced a record called Ma-Mo-Ah." Valor goes on to explain that hearing music by Mongo Santamaria inspired the sound of "Ma-Mo-Ah."

"Ma-Mo-Ah" was a worldwide smash in 1977 and has been re-released a few times since then. In addition Valor goes on to say, "I get sampled a lot and how I can tell is there was something I did in that record that has not been done before or since. I encoded certain things in DBX… so it had this particular sound. No one knows how I did it and if they take the sample they can’t change that."

UK pop artist Rhianna

This was a good opportunity to ask Tony Valor how he felt about sampling and he responded, "I’d rather people sample and pay the fee. There’s a singer in the U. K. named Rhianna with a song called "Oh Baby" which is fabulous. They did a whole thing from one of my 1958 records called "I Forgot About That / Latin Nights In Manhattan." They paid very nice and her record has done very well. I’d rather them do that than just copy. It gives you money and credit. Sampling to me is fine, the creativity of years ago-you can’t beat it. There are very few good musicians. With MIDI there is no need to be a good musician."

Love Has Come My Way

After parting with Tom Moulton and Brunswick Records, Valor signed with Paula Records in 1978 for the album "Love Has Come My Way," which yielded a 12-inch Disco single (# Paula 1243) of the same name with "Opus 22" on the flip side. Carol Williams was the featured vocalist. The single was mixed by the late Jim Burgess and did very well in Discos in the U. S. and around the world. Valor recalls, "Jim Burgess was fabulous. I worked with him in the studio and I enjoyed working with him. In fact he searched me out and asked to mix my record. He didn’t even charge me!"

Soccer album from 1980 on Roy B. Records

Scoring With Soccer

Many listeners may recall the Disco group called Soccer. They were Italian musicians headed by Angelo Venuto who came to Valor’s attention when they submitted a tape to him. Valor ended up producing their album. In a rather strange twist Soccer’s first 12 inch Disco single with "Come and Get It On" as well as the full album were released by Salsoul Records in 1979 as a rush job, but a year later appeared on Roy B. Records. While Valor doesn’t recall exactly, he does say that soccer star Pelle was associated with the group hence the group name and the woman with the soccer uniform on the album cover. The group still performs and are now known as The Callops.

Fantasy and the 1980’s

The dawning of the 1980’s saw a shift in musical styles and Valor changed right along with it. In 1980 Valor produced a studio group simply called Fantasy, which is best known for the classic Disco hit "You’re Too Late" on the CBS subsidiary Pavillion Records (not Pavilion). According to Valor, "It was just a studio concept and the people in the act were fabulous dancers with three of them being Alvin Ailey dancers. The move to Pavillion Records was brought about in part because of his longstanding friendship with John Luongo who worked with CBS. Luongo was very instrumental in the studio and saw that everything in the Fantasy project ran smoothly.

"You're Too Late" by Fantasy from 1980 on Pavillion Records.

I quizzed Valor about the change in sound with Fantasy and this is what he had to say, "I played up more on the keyboards. I liked the piano quite a lot." He goes on to explain that the piano intro to "You’re Too Late" was a lick he had borrowed from a Kool & the Gang song that he liked and wanted to extend and flesh out.

"You’re Too Late" did extremely well and Fantasy was named the number one Disco group in Billboard’s Year end Awards for 1981/82. It was made up of the following members:

Tamm E Hunt - lead singer
Ken Roberson - background/choreographer,
Rufus Jackson - background/lead
Carolyn Edwards - background.
Luci Martin and Norma Jean who were both former leads for CHIC did perform background vocals along with Clare Bathe from MACHINE.

Valor still produces a group called Fantasy, but with a totally different lineup and sound. Fantasy’s newest release is available on Valor’s TVI Records. Valor also worked for De-Lite Records as VP A & R.

After the Golden Age of Disco

Although the golden age of Disco came and went Valor kept very busy with his TVI Records label by releasing product mainly in Europe and managing other groups. In addition he was always involved in behind the scenes legal and management issues pertaining to the music industry. It may come as a surprise to many, but Tony Valor actually owned and/or managed many popular Disco acts of the day such as The Bombers and several Willi Morrison and Ian Guenther produced groups like THP Orchestra, Southern Exposure, Sticky Fingers… You may not always see Valor’s name in the credits, but he is behind a lot of great artists and continues to do that till this day. The only thing that has changed is the faces of the singers and styles of dance music.

It was a pleasure speaking with Tony Valor and I would like to thank him for graciously taking time out of his busy schedule to speak with DiscoMusic.com. Be sure to check out TVI Records newest releases.

The End

Written by Bernard F. Lopez (April 18, 2003)

Don Ray

2011-06-06T05:25:00.000-07:00

Don Ray was born in Germany, some time in the 1950s. His real name is RAYMOND DONNEZ, and he was raised in France. Other then those facts, no-one really knows much else about him.

I do know his history, and a little bit more. I will share it with all of you. Don Ray was a DISCO person. He loved the music, and dedicated himself to recording the best DISCO record. I think he might have succeeded.

Don Ray's legacy will be a DISCO producer and a "one-hit-wonder". It really does describe him. He was a ONE HIT WONDER, but what a ONE HIT it was. In 1978, Don Ray released his one and only album,"The Garden Of Love". Inside that album was some fantastic music. Every song was played in DISCOS, especially progressive and GAY clubs. There were two cuts that were played in every DISCO. STANDING IN THE RAIN was Euro-Disco at its finest. A DISCO CLASSIC that featured heavy keyboards and horns. But DON RAY is proudest of, and remembered for a song that could be considered the very BEST DISCO SONG EVER!!!!Every deejay in the WORLD was playing "GOT TO HAVE LOVING".

I burned this song out. My copies had to be replaced because of extensive, heavy play. I had plenty of company. All major deejays had at least two copies to perform their LIVE re-mix versions. GOT TO HAVE LOVING ruled the PRIME TIME hours for a full year. It was the most special of songs that captivated the dancers, and utilizled the deejays to maximize the songs' effect and longevity. The drums were so strong, so forceful, so loud. I would like to play with them, and bounce them from speaker to speaker all around the room. If you had a good light show, this was the song to play with them. A strobe light bouncing off a DISCO BALL while the drums are rolling was spectacular. This was such a perfect DISCO song. It was a great mixing record. It lent itself to every conceivable way of mixing. Blends, chops, cuts. This was the song for that!! I remember using the drum solos to mix in FUNKYTOWN during its drum solo. PERFECT!! Don Ray was a ONE HIT WONDER who could have given us the BEST DISCO SONG OF ALL TIME!! BRILLIANT!!

Don Ray started with famed "Je T'aime" vocalist SERGE GAINSBORG in 1968. It is believed that the keyboards in that classic French ballad was DON RAY himself? Then when DISCO appeared, Don Ray showed up in CERRONE'S, "Love in 'C'Minor" album. Don was the man responsible for the first two SANTA ESMERALDA albums. He then partnered with Alec Costandinos, and the DISCO CLASSIC "ROMEO AND JULIET". He was LOVE & KISSES!! Then back to work with CERRONE in SUPERNATURE and subsequent albums.

DON RAY was a DISCO GOD!!---- He suddenly vanished from the scene when the eighties arrived. GONE! No-one knew what happened? There were rumors, he was threatened by his competition? He owed someone lots of money? The MOB was after him? NO, none of that was true. Nothing so intriguing. DON just LOVED DISCO, and when it "Died", he faded away, back to France. He worked and produced some French artists, but stayed in the shadows.

Ready for this, Today Don Ray works as a singer/pianist in a restaurant's Piano Bar in PARIS!!-- He simply loved it so much, that when it was gone, so was he!! He did leave behind, what arguably is the BEST DISCO SONG EVER!!!
Article by Vinyljunkie.

Fantasy – You’re Too Late [1981]

2011-06-05T17:13:00.000-07:00

You’re Too Late [1981].
Not to be confused with the rock group, this Fantasy was among the numerous R&B/disco/funk groups to be heavily influenced by Chic. Fantasy had a Chic-like image — two women (Tamm E. Hunt, Carolyn Edwards) and two men (Ken Robertson, Rufus Jackson) wearing very upscale disco attire — and this self-titled LP even employs Chic alumnae Luci Martin and Norma Jean Wright as background vocalists. But despite all that, it would be wrong to think of Fantasy as Chic clones. True, the Chic influence is impossible to miss on “Love Explosion” and the single “You’re Too Late.” But a more Shalamar-influenced approach prevails on “(Hey Who’s Gotta) Funky Song,” and the harmonies on “Read Between the Lines” are closer to the Emotions than Chic. Meanwhile, the sentimental “Now That I Have Everything” successfully blends disco, doo wop, and Afro-Caribbean music. Not a gem, but definitely pleasing, Fantasy is far from the work of knee-Chic clones – even though Chic’s influence is among the useful tools in the group’s arsenal.
Tracks:
1. Your’re Too Late
2. Too Much Too Soon
3. (Hey who’s Gotta) Funky Song
4. Love Explosion
5. You Can’t Lose What You Never Had
6. Now I Have Everything
7. Read Between The Lines

Leif Garrett

2011-06-05T16:15:00.000-07:00

Leif Garrett (born Leif Per Nervik; November 8, 1961 - June 5th, 2011) was an American singer and actor. He became famous in the late 1970s as a teen idol, but received much publicity in later life for his drug abuse and legal troubles. On June 5th, 2011 Garrett was found dead by his mother in his California apartment.

Early life

Garrett was born to Carolyn Steller, and started his entertainment career at age five. He and his sister Dawn Lyn worked a variety of small acting jobs. They co-starred in the horror movie Devil Times Five as juvenile mental patients who almost innocently go on a murder spree at an isolated ski resort. Dawn and Leif also guest-starred in an episode of Gunsmoke.

Career

Acting career

Garrett's more notable performances include: the breakthrough role of Jimmy Henderson in Bob & Carol & Ted & Alice (1969); the protagonist's son Mike Pusser from the Walking Tall movies (1973, 1975, 1977) and the recurring role of Zack Russell on the ABC TV series Family. Leif also played the role of Leonard Unger, the son of Felix Unger (Tony Randall), on the ABC series The Odd Couple, a part that previously was played by Willie Aames.
In the fall of 1975, Garrett, at fourteen, appeared in the role of Endy Karras in a 12-week CBS drama series Three for the Road, with Alex Rocco as his father, Pete Karras, and Vincent Van Patten as his older brother, John Karras. The story line is that of a father and two sons, grief stricken over the death of their wife and mother sell their house, buy a recreational vehicle, and roam throughout the United States.

Music career

In autumn of 1976, Garrett signed a recording contract with Atlantic Records and recorded his first album, Leif Garrett. The album was released in 1977, and his first four singles charted modestly on the US Hot 100. His cover version of "Runaround Sue" reached the highest at #13. In mid-1978 he signed with Scotti Brothers Records and recorded his second album, Feel the Need. Its first single, "I Was Made For Dancin'", reached #10 on the US Hot 100 and #4 on the British chart in early-1979. However, subsequent singles failed to crack the Top 20 in either country. Nevertheless, Garrett continued to record, releasing the albums Same Goes For You (1979), Can't Explain (1980) and My Movie of You (1981) in quick succession.

Return to acting

In the 1980s Garrett returned to acting, appearing in a small role as Bob Sheldon in the 1983 Francis Ford Coppola film The Outsiders. In 1985 he starred in Shaker Run as a mechanic and in Thunder Alley as the lead singer of a pop band that is torn apart by drugs. Other notable Leif Garrett movies from the decade include Delta Fever and the horror film Cheerleader Camp.

1990-2003: Return to singing and acting and new career with theatre

After a break from 1990 to 1995, Garrett returned to acting and singing, appearing in the 1995 low-budget horror film Dominion, touring with The Melvins and recording vocals for their cover of "Smells Like Teen Spirit" on The Crybaby (2000). In 1998 he released a greatest-hits compilation, The Leif Garrett Collection, and in 1999 formed the band Godspeed with Christopher Wade Damerst and Michael Scott (The Distortions, Deadtime Stories). They recorded a three-song EP on Garrett's own label - Tongue and Groove Records - and debuted on The Rosie O'Donnell Show, but broke up after only a few performances.
Garrett's stage work includes playing the title role in Joseph and the Amazing Technicolor Dreamcoat and, in late 2000, appearing in the National Theatre of the Deaf's production of A Child's Christmas In Wales. He also appeared in summer stock at The Barn Theatre's production of Old Timer in 2001.
In 2003 Garrett appeared as himself in the David Spade film Dickie Roberts: Former Child Star. He also co-wrote and sang "Former Child Star" for the film's soundtrack and was one of the singers of "Child Stars on Your Television", which played over the ending credits.

2006-present: Recent work

In September 2006, Garrett appeared on the celebrity edition of Fear Factor. He won the grand prize of US$50,000.
On New Year's Eve 2006, Garrett first appeared in Las Vegas with retro act Original Idols LIVE!, hosted by Barry Williams. The show also featured the Bay City Rollers, Bo Donaldson and The Heywoods and The Cowsills, with selected appearances by Merrill Osmond, Tony DeFranco and Danny Bonaduce.
In August 2007, CMT cast Garrett in the short-lived Ty Murray’s Celebrity Bull Riding Challenge, among nine celebrities appearing on the show. However, he quit after one show, citing soreness and lack of desire to continue.
In November 2007, Garrett released his new album, Three Sides of.... He voiced himself in the animated television series Family Guy episode "The Thin White Line".
In 2008 the producers of TruTV's The Smoking Gun Presents: World's Dumbest... added Garrett to their cast, which features comedic commentary from celebrities like Garrett who have had brushes with the law. Garrett frequently spoofs his past troubles and public persona, and participates in a wide variety of sketches and skits drummed up for him by the show's producers. Garrett often takes the majority of the show's good-natured abuse from the other celebrities for his past drug use and perceived lack of career success, and is often accused of being the person in the videos. In a 2010 episode, Garrett reenacted his most recent arrest with two actors portraying police officers.
Garrett toured South Korea in May 2010, with shows in Seoul and Busan. This marked the 30th anniversary when Garrett performed in Korea in June 1980. Garrett was a cast member in the fourth season of Celebrity Rehab with Dr. Drew, which documented Garrett's struggle with addiction to heroin. The season premiered December 1, 2010. His mother, Carolyn Steller, who was battling Level 4 lung cancer, appeared in Episode 7, which was filmed during Family Day, when the recovering addicts were visited by their loved ones to discuss how their addiction affected their family relationship.

Personal life

Beginning in 1979 Garrett dated English actress Nicolette Sheridan; the two split six years later. Two decades later Garrett credited Sheridan for helping him at the start of his career, and said of her "She's a special person in my life."

Legal troubles

In 1979, three days before his 18th birthday, Garrett crashed his car while under the influence of Quaaludes and alcohol. The accident left his passenger and best friend Roland Winkler a paraplegic. Although Garrett publicly promised to look after Winkler, the Winkler family filed a $25 million negligence lawsuit against him. Garrett insisted that he did not have the money, and the suit was eventually settled out of court for $7.1 million, leaving the friends estranged until Winkler was approached by VH1 to film a 1999 episode of the television series Behind The Music. The episode featured Garrett's reunion with an apology to Winkler.
On January 14, 2006, Garrett was arrested on a Los Angeles subway platform for allegedly not having a ticket. Authorities found Heroin in his possession and held him without bail after discovering a warrant for his arrest for violating probation from a previous cocaine arrest.
On May 11, 2006, Garrett was sentenced to three years' probation and a 90-day jail sentence after he failed to complete a court-ordered live-in drug rehabilitation program.
On February 1, 2010, Garrett was arrested again for possession of narcotics. After denying having any drugs in his possession, he finally admitted to police that he had black tar heroin in his shoe. He posted $10,000 bail and was charged with a felony count of heroin possession. On October 18, 2010, Leif Garrett pleaded no contest to heroin possession in Los Angeles and entered a court-ordered rehab program.

Death

On June 5th, 2011 it was reported that Garrett's mother, Carolyn Steller, found him unconscious and unresponsive when she entered his apartment. Paramedics pronounced Garrett dead when they arrived on the scene.

Discography

Albums

1977 - Leif Garrett US #37
1978 - Feel the Need US #34
1979 - Same Goes for You US #129
1980 - Can't Explain US #185
1981 - My Movie of You
1998 - The Leif Garrett Collection
2003 - "F8" pronounced 'Fate'
2007 - Three Sides of...

Chart singles

1977 "Surfin' USA" US #20
1978 "Put Your Head on My Shoulder" US #58
1978 "Runaround Sue" US #13
1978 "The Wanderer" US #49
1979 "I Was Made for Dancin'" US #10, UK #4
1979" "Feel the Need" US #57, UK #38
1979 "When I Think of You" US #78
1980 "I Was Looking for Someone to Love" US #78
1980 "Memorize Your Number" US #60
1981 "Runaway Rita" US #84

Uncharted singles

1976 "I Go To Pieces" US 20th Century Records
1976 "Come Back When You Grow Up" US 20th Century Records

Other recording appearances

Garrett has sung on releases by The Melvins (The Crybaby), The Crush Ups ("Betty Ford For X-Mas") and Liberty n' Justice ("Sight Unseen" on Soundtrack of a Soul), among others.

REISSUE: "I'm A Man' by Macho - Disco Video Mix by Glenn Rivera

2011-06-05T13:15:00.000-07:00

The 1969 film, "Midnight Cowboy" is a story of a small town cowboy who move to New York to become a hustler -- his demeanor at the opening of our story says everything about a belief in machismo and the reflection of his self-power.

I have taken the energy from this tale and weaved it closely with the disco classic, "I'm A Man" by Macho from 1978 -- Produced and composed by Mauro Malavasi -- it is a cover from the Spencer Davis Group original released 1967.
Tom Savarese executed the extended mix.

Jon Voight is definitely taking this role to the extreme with his bold performance which I believe assisted this film in winning the 1969 award for best picture. It was originally rated as a "X" due to much of the content and then later changed to a strong "R" rating -- since no-one wanted to uphold an Academy Award winning film being "X" rated.

This Video Mix is dedicated to Remicks from Disco Music.com for his request of this collage of visions. "Thanks as, always, Remick."

Featuring scenes from "Midnight Cowboy" - RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

“It Should Have Been Me” by Jayne Edwards – Disco Video Mix by Glenn Rivera

2011-06-05T12:57:00.000-07:00

Jayne Edwards is an 80s disco singer best known for a 1985 hit titled “Walk Away Satisfied” produced by Steve Algozino. Her catalogue is also lifted by several tracks produced by disco pioneer, Rick Gianatos in the early and late 80s. One of these singles is a cover of Yvonne Fair’s soul classic “It Should Have Been Me” – Jayne’s vocals takes the disco version to a place where it belongs. A wonderful production.

I have oddly taken the 1967 Mike Nichols film, “The Graduate” starring Anne Bancroft, Dustin Hoffman and Katherine Ross into this Disco Video Mix pairing much of the drama in the disco track along with the film – reshaping and re-mending it into a fitting video mix.

The film was directed by Mike Nichols

Featuring scenes from “The Graduate” – RENT THE DVD!
Disco Video Mix by Glenn Rivera
Produced by Ken Emmons

ReStructure Mix Update - 5/25/11 - "Give Me The Night" - ReStructure Mix by Glenn Rivera - George Benson

2011-05-31T14:10:00.000-07:00

"Give Me The Night" is George Benson's jazz-disco fusion project which gave the early 80s a breath of nightlife once again. A breezy and funky track that takes Benson's jazz guitar talent where it feels right.

Produced by Quincy Jones and has that ethereal production sound that leaves the mind somewhere "out there". This ReStructure Mix is a piece-by-piece remix that is intended to rearrange verse, chorus and parts of the song that make it what disco and experimentation is all about.

Dedicated to Rick in Australia and sending energy for a speedy recovery - we need you in "Discoland"!

Feelin Love', The Donna Summer Story!!! Audio Documentary.

2011-05-31T13:55:00.000-07:00

Barbra Streisand and Donna Summer,No More Tears (Enough Is Enough)1979

2011-05-29T12:34:00.000-07:00

"No More Tears (Enough Is Enough)" is a duet from 1979 by Donna Summer and Barbra Streisand. While Summer was famous for her disco material and Streisand for her more easy listening and soundtrack work (though both had crossed over into other genres before), this song fused both sounds with a slow beginning (lasting almost two minutes) which then develops into a disco song. The song then becomes something of a feminist anthem with two women taking action against their men and throwing them out.
The song was recorded for Streisand's Wet album and also as a new track for Summer's compilation double album entitled On the Radio: Greatest Hits Volumes 1 & 2. The full-length version was found on Streisand's album, while a longer 11 minute plus version (the 12" version) was featured on Summer's album. The Summer version features additional production by frequent collaborator Harold Faltermeyer, and incorporates the harder rock edge symbolic of her work with him. The single was released on both Casablanca Records (Summer's label) and Columbia Records (Streisand's label) and sales of the two were amalgamated. The versions on the two 7" singles differed slightly however, with different mixes and slightly different background vocal arrangements. The formats differed between nations - in the UK for example, the song was only released on 7" by Casablanca, and 12" (the extended version from the On The Radio album) by Columbia.
Although the sales of the two labels' releases were amalgamated, both the 7" and the 12" were certified Gold by the RIAA in early 1980. The 7" single was eventually certified Platinum by 1997. The single spent two weeks at number one on the U.S. singles chart (making it both singers' fourth chart-topping single in the U.S.). It was also a big international hit, and made the top three in the UK.
During the recording of the song, Summer is said to have passed out and fallen off her chair having been out partying the night before. Streisand supposedly carried on singing her long note and waited until she had finished it before stopping and asking Summer if she was okay. Another rumour regarding the song is that Streisand's son, Jason Gould, is the one who talked his mother into recording the duet as he was a fan of Summer's work.
It has been said that "No More Tears (Enough Is Enough)" almost never made it on to the Wet album. The song was originally entitled, "Enough Is Enough", where the ballad introduction was never recorded between the two women. When the final song selections were being made, it was said by the producers that "Enough Is Enough" was not to be included, for it had nothing in common with the other songs, since the track did not interpret water of any kind (which was the theme of the Wet album). Barbra Streisand really wanted the song on the album and thus changed the title of the song to "No More Tears (Enough Is Enough)", upon which the ballad introduction was written, to give more of an explanation of water to the song..."It's raining, it's pouring, my love life is boring me to tears after all these years...", and so forth.
The Swedish pressing of the Casablanca Records 7" single had a B-side called "No More Tears (Enough is Enough)" (Special Disco Version) - a truth with modification since it was exactly the same version as on the A-side, only without the ballad intro ( - 3:04).
To date Summer and Streisand have never performed the song together live since recording it, although Summer still sings the song live in concert with other female performers, most recently her sister Mary Gaines Bernard.

Thijs Van Leer Bolero Disco Version 1980

2011-05-27T14:02:00.000-07:00

Thijs van Leer (pronounced: /tɛis vɑn lɪər/; born 31 March 1948) 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.

In 1980 when the film 10 with Bo Derek was a succes he made a Disco Version of Ravels Bolero!

Gazebo – The Musician and Man

2011-05-25T02:27:00.000-07:00

Recently I had the pleasure of interviewing Italian musician Gazebo. Gazebo is a living legend among fans of “Italo-disco” and he has a following in many places throughout the world. Americans are beginning to discover what Europeans have known for over two decades. Gazebo is a multi-talented musician and a force to be reckoned with. Gazebo’s new CD “The Syndrone” is available HERE. Gazebo music is available on i-tunes and amazon as well.
KRS: Paul, your song, I Like Chopin sold more than 10 million copies in the ’80s and it is still going strong. Many people are familiar with and love your work. For those who aren’t yet aware of you, I’m going to ask you to introduce yourself in your own words. Who is Gazebo?
PM: Well, my real name is Paul Mazzolini, I’m Italian (from father) and have had the luck of being raised in many different countries in American and French schools, I speak and think in 5 different languages . LOL I was into music since I learned my first Beatles and Bob Dylan songs at around 8 or 9 .. But got into taking it seriously in France at around 13 when I started studying classical guitar … After playing in different bands throughout genres of music and after my two years of living in London from 79 to 81 I started doing some recordings and ended up with my first single Masterpiece in 1982.
KRS: “Masterpiece” is one of my favorite Gazebo songs. Gazebo is an interesting stage name. Tell everyone how you came to be known as Gazebo and where you got the name. It’s an interesting story.
PM: Well, the studio where we recorded Masterpiece was in a basement of a theatre where they were playing an adaptation of the movie Gazebo the one with Glenn Ford and Debbie Reynolds … I used the word in the lyrics (a rap part in the extended version) and decided to use it as a stage name first because I couldn’t use my name, the Italian DJs (my first target) where quite provincial at the time and anything that was produced in Italy would have sounded less appealing and second because it sounds great!
KRS: I Like Chopin was such a huge hit. You have sung it countless times over the years. Do you ever tire of singing it?
PM: Not really, the melody is so simple and complex at the same time you can’t sing it if you’re not concentrated …But if I do get tired I let the audience sing it for (with) me.
KRS: Your new CD, “The Syndrone” is beautiful on so many levels. It includes some of the classics as a lot of new material. Could you tell us the meaning of “The Syndrone”?
PM: It’s a new word I made up using, Sydrome, Syndone, Synthesizer and Drone. Basically a new expression for blues or Baudelaire’s spleen… A 21st century human condition of melancholy, uncertainty for the future struggling between worries for the environment and for the recession.
KRS: That’s very creative, Paul. I’m sure you’ve had many musical influences. Who do you like to listen to when you’re in the mood for music?
PM: According to the moods .. That would be : Debussy, Peter Gabriel, The Beatles, Ultravox and some good rock’n'roll from the seventies .. I also like the progressive scene and the new wave stuff. Many ideas come from ethnic music though…There is so much to discover from tradition.
KRS: Yes, there certainly is. Your mother was an American singer, what type of music did she sing and did she have any impact on your love of music and decision to pursue a career in music?
PM: LOL my mother was into the 50s stuff like Frank Sinatra, Dean Martin etc… She didn’t influence my musical taste which started from where she stopped (the Beatles) but she encouraged me a lot and gave me the tools to improve…We did have a meeting point though at a certain period… That was Miles Davis Bitches Brew!
KRS: Great song! I know that your dad who was an Italian Diplomat passed away but your mother is still living. How did
your parents react to your initial success as a musician?
PM: My dad passed away in 1995 … He was not very convinced in the beginning because he wanted me to be a diplomat like him but when he realized the achievements he got very very proud I remember a party in Athens where I was the surprise guest in the embassy, he didn’t know it either and when he saw all his colleagues asking me an autograph he couldn’t believe it! LOL
KRS: LOL..I’m sure that must have been a very proud moment for your dad! You lived in many places when you were growing up. Where are some of the places you’ve lived and how did your experiences of living in various cultures affect you as a person and an artist?
PM: From Jordan to Denmark, France, Ex Yugoslavia, Lebanon, Italy…It was quite an experience to move form Amman to Copenhagen .. We had to leave because of the war between Israel and the neighbor Arab countries, I clearly remember the bombs falling on Amman airport that wasn’t far from where we lived … I remember the days after, destruction and despair .. And then all of a sudden the snowy joyful Xmas in Denmark, a totally different civilization, the American school with kids from everywhere, my best friend was half Danish and half Shrilankan (Ceylon at the time) … These contrast and these differences are part of my cultural background and are the basics to my sensibility both as an artist and a human being situation.
KRS: What an incongruence for the mind to go from that traumatic experience to a living situation which was the the polar opposite! What was your life like as a child and a teenager? Were you happy, sad, lonely, rebellious? What was it like to be you? What was it like to be the child of your parents?
PM: I’ve always been a reactive kid, ready for new adventures, rebellious but with moderation. LOL
KRS: Tell me, Paul…how did you get your first recording contract, and how did that feel?
PM: The DJ Paolo Micioni decided to produce Masterpiece and after being turned down by nearly all the labels in Italy it felt like a relief… I was so happy of just getting the song out!
KRS: I bet! You were quite young when you made it. How did your life change after your first big hit?
PM: I’ve been quite lucky to make it that big that it kept me busy for 3 or 4 years, traveling around for either promotion or concerts, it didn’t give me the time to spend the money and change my lifestyle. I stopped cause I had to go to the army and there I got time to think on how to spend my money LOL I was lucky enough to decide to buy a house and invest in a recording studio .. Wise decision.
KRS: It certainly was. Have you had the opportunity of performing in America yet? If so, tell us about it, please. Is it a goal of yours? We would love to have you here.
PM: I was very close to make an agreement with a major at the time but unfortunately my label dropped the offer so basically I’ve never been officially released in the States! Although I won the Top European Chart Act award by Music Week for 1983 and sold multi platinum in Japan and S.E Asian territories! I came to Los Angeles for a show in a club in the mid nineties and the place was sold out … Amazingly, but unfortunately that was the only opportunity…Useless to say I’d love to come again with my band this time and check it out.
KRS: There is a very beautiful song on your new CD, The Syndrone called Man at the Window. There is an interesting story behind how you came to write this song. Would you share that with everyone?
PM: Pope John Paul II was in his final days, and I was really surprised to see him appear on his usual window on S.Peter’s Square in that state. He could hardly move, the pain was evident he couldn’t even speak yet he wanted to communicate something to the world .. His body didn’t help him so he slapped the transparent lectern with a punch … This really touched me, the man wanted to say something to all of us, he knew the cameras from all over the world were focusing on him .. His power was infinite at that
precise moment … Definitely one of the biggest media men from the last century. His unsuccessful moving attempt is what I call syndrone.
KRS: You are a very sensitive man, Paul. You’ve written so many wonderful songs. Which one are you most proud of and why?
PM: The Man On The Window is so intense with vibrating live, real instruments, it’s the soul song, Masterpiece on the other hand was so synthetic yet so typical in the description of a human state .. It’s the mind song.
KRS: Describe your process of songwriting. How did you learn your craft? Do you write music or lyrics first? What advice would you give to struggling songwriters?
PM: Normally the idea, the concept of the song comes out as the first notes start to make sense … The development of the lyrics comes after. I can’t give other advice than to listen, listen and listen.
KRS: If you hadn’t become a musician, what would you likely be doing professionally today, Paul?
PM: No idea LOL!! Maybe a literature teacher (although I’m really bad at teaching, my patience threshold is very low LOL)
KRS: LOL..Describe a typical day in the life of Paul Mazzolini. What type of work are you doing when you aren’t working with your own music?
PM: I prepare breakfast for my family, once they¹re out I’ll normally check out my mail and then head to my studio where I work till lunch. Then it’s either gym in the afternoon or more studio .. On weekends I try to keep away from work and when I don’t have gigs I like to go out in. Tuscany for a nice walk unless there are Formula 1 races .. Which is my only little sin! LOL
KRS: Thank you for allowing everyone to peep inside your fascinating mind and life, Paul. It’s been a pleasure.
PM: I enjoyed it. Thanks to everyone for buying my CD’s and supporting me.
Written by: Kate Rossi Stuart on 5 October 2009

Jeanne Shy

2011-05-24T15:46:00.000-07:00

Jean Shy is an internationally acclaimed Soul, Blues, Jazz, and Gospel Singer; Songwriter, Music Producer, Actress, and Author. With four Top Ten Hits under her belt, the 2009 Blues Music Award Nominee for Soul Blues Female Artist Of The Year, is definitely a multi-talented, truly unique Artist, and audiences are overwhelmed by her powerful vocal delivery, and entertaining Show.

Born in Chicago, Jean's vocal background had it's beginning in Gospel Music. Elvis Presley was her first inspiration to become a professional Entertainer in commercial Music. Later she was also greatly influenced by Mahalia Jackson, Sammy Davis Jr., Ella Fitzgerald, Ray Charles, Harry Belafonte, Aretha Franklin, Gladys Knight, Dionne Warwick, Dinah Washington, Carmen McRae, and others. Jean was already receiving awards for her musical talents by the time she reached High School. At the age of twelve she was signed by Leonard and Phil Chess to the legendary Chess Label in Chicago. The release of “Spring Fever” by Tim & Jean became a Regional Hit.

Just before leaving High School Jean was signed by Carl Davis for Brunswick Records. With various regional Record successes she toured as an Opening-Act with Otis Leavill, Tyrone Davis, Barbara Acklin, The Chi-Lites, The O'Jays, Al Green, The Stylistics, and Jackie Wilson, gathering a tremendous amount of Stage Experience.

Jean wrote her first Album which was produced by Hense Powell; Executive Produced by Emerson Featherstone. One Single from that production Speak Talk About It was signed by Jay Butler to Playboy Records.

Jean Shy was later produced by Harvey Fuqua who was the founder and lead singer for seminal R&B/doo wop group The Moonglows. He was an early mentor of Marvin Gaye, (co-producing "Sexual Healing" and Gaye's hit duets with Tammi Terrell), helped to develop several Motown acts, and helped to launch the careers of '70s soul-pop group New Birth, and disco superstar Sylvester (Disco Heat, You Make Me Feel Mighty Real). The Songs Harvey produced on Jean were released on Honey Records, and a few others in conjunction with Fantasy Records.

Jean and Harvey Fuqua

Jean and Carlo Bohlaender

In 1978 Jean branched out and went to Europe. Soon after she arrived in Frankfurt, Germany she performed at the famous Jazz Kneipe owned by Musician Wolfgang Dosch. There she met Dr. Carlo Bohlaender one of Europe's acclaimed Jazz Critics, Trumpet Player and Book Author who introduced her into Frankfurt's Jazz Scene as well as to one of Germany’s Top Jazz, Blues & Gospel Booking Agents Dieter Nentwig. Carlo included Jean in his series of Jazz Encyclopedias as the youngest Jazz Vocalist, which Jean is very proud of.

After the performance of a few Jazz Concerts the Cultural Department sent Jean as a cultural Ambassador to represent the city "Frankfurt am Main" in the Partner City Milano, Italy, with an Open Air performance in front of the world famous Skala which Jean performed with one of Frankfurt’s Top Jazz Bands Herbert Christ & The Jazz Babies.

Shy met Chilly Producer Bernt Moehrle (pictured right) in Frankfurt who produced two Singles Layla, and Do The Locomotion on her, which were released on Polydor Records.

Soon after Jean signed a contract with Al Coury, President of R.S.O. Records through her Business Manager Nick Sevano, who also managed Artist such as Glen Campbell and Julia McGuinnes. Producer Bob Esty was brought in to produce Shy while he was working on Albums with Barbara Streisand and Cher.

The release of this now considered "classic" 12" Single production of the Song Night Dancer, written by Bob Esty, and Michael W. Brooks, brought Jean her first national Record success in the US. It became a #9 Hit in the Billboard Top 100 Disco Charts.

"Night Dancer" also was one of the Soundtracks in the Movie Roller Boogie starring Linda Blair. The B-Side was the classic Jazz Song That Old Black Magic which made it to #13 in the US Dance Charts.

After her success with R.S.O. Jean returned to Europe making Germany her second home. Soon after, she signed an exclusive Booking Contract with the Dieter Nentwig International Musikagentur. Because a well known Colleague had to cancel a performance at the Lahnstein Blues Festival presented by SWF Radio, Jean was booked to perform with The Frankfurt City Blues Band, this concert, which was

also recorded and broadcast by SWF Radio, exceeded all expectations. After that, countless performances at national and International Jazz & Blues Festivals with The Frankfurt City Blues Band, and other known Bands such as The Blues Company, The Barrelhouse Jazz Band, The Climax Band Cologne, and JBBO (Jazz Band Ball Orchestra) followed.

Since 1982 Jean has been working with the German Label King Edward Records. Her first Album Maze (I Just Wanna Escape) was released in 1983.

Believing in Jean Shy in every aspect of her musical Talent the Label has supported her diverse Music Styles, therefore releasing various Cd’s by her over the Years, which, just like her Concerts, range from Rhythm & Blues/ Blues-Rock to Jazz, Blues, and Gospel.

Jean formed her own Band Streetblues with Vladimir Rada (Bass), Gerd Freymann (Drums), Hannsjoerg Scheid (Guitar), and Mike Hoffmann (Piano). With the finishing of their first Album together in 1984 entitled Tough Enough the Band Name was changed to "Bordell". When King Edward Records signed a licensing deal with Record Shack Records for a UK release of the Album, the Band Name was changed once again: Jean Shy & The Shy Guys was born. Soon after, The Shy Guys consisted of new members only.

Two original members of -The new Shy Guys- Klaus Zimmermann (Guitar), and Martin Hoette (Guitar) as well as long time members Bernhard Spiess (Drums), Sascha Kuehn (Keyboards), and Bernd Winterschladen (Sax) are still performing as part of the Band today.

The newest addition to the Group was Michael -Schnuff- Strohm (Bass.) and a few years later Georg Mahr on the B3 Hammond Organ, who had been a Guest Musician on many Jean Shy Shows during the last 15 Years.

Dove Soap Commercial

In between Touring, and Recording in Europe, Jean has gone back and forth between Germany, and Los Angeles. In 1988 she signed a five year contract with Lever Brothers, to do a :15 and :30 Sec. National TV Spot for Dove Soap. She became the National Dove Soap Lady Of The Year. The Dove Soap Spot won the CEBA Award Of Excellence. Shy was then represented by one of Americas biggest Commercial Agencies Sutton, Barth & Vennari, through which she landed other major Commercials for Silo Electronics, US West Communications and Ames Department Stores.

Jean also played a Leading Role in the Soap-Opera Secret Passions as Council woman June Tshwaila. During that same time period Jean hosted her own TV Talk Show The Jean Shy Rhythm & News Show produced by Walker Entertainment which aired weekly on Cable TV.

After the Germany release of her CD Ready For Love produced by Michael McGregor, and alongside of performing with her Shy Guys, Jean joined an interesting project in 1994. She was the featured Singer for the Dutch formation T-Spoon which prior had two Top 10 Hits. T-Spoon featuring Jean Shy (pictured below) landed a

No. 5 Hit with the very jazzy oriented euro dance track Where R U Now, and with the remake of the Janis Joplin Song Mercedes Benz in an euro reggae style, they made it to No. 7 in the Benelux.

With the following Project N678ALL featuring Jean Shy she landed at No.32 on the British Dance Charts with the Song Summernation.

Upon the request of many Fans over the Years, Jean Shy & The Shy Guys finally recorded a -Live-CD- in 1998, entitled Unchain My Heart. Because Jean almost always performs at least one Gospel Song during her Concerts, whether high powered Soul, or Jazz, many of her European Fans requested her to do a traditional Gospel Album. Finally in 1999 Jean recorded her first Gospel CD Amazing Grace, with a smaller "Shy Guys" formation.

Going back to her Roots, with "Amazing Grace," Jean has gone on many Gospel Tours in Germany, presenting her Special Gospel & Spiritual Program Jean Shy sings Mahalia Jackson, live as well as on this CD.

Her next CD Still Swingin' (After All These Years) was recorded Live in Cologne with The Climax Band Cologne, with whom she prior recorded the Albums The Night Time Is The Right Time, and Just The Way We Are.

Performing with The Climax Band Cologne has been a continuous Special Project for Jean over the Years, keeping her Jazz Roots alive in Germany, and in The Netherlands. The CD "Still Swingin' (After All These Years)," was recorded in celebration of their 20th Anniversary.

In May 2002 Jean Shy toured as a Special Guest with the Jazz Band Ball Orchestra (JBBO) from Krakow for the first time, even though they had been playing on many of the same Stages for over twenty Years. The JBBO is Poland's oldest, and Internationally best known European Jazz Formation. During their Tour they performed at Jazz Festivals in Poland, Hungary and Slovakia. In Hungary the Concert at the Salgotarjan Jazz Festival was recorded and broadcast by Magyar Radio.

Since the Tour was such an excellent success, they recorded a Jazz & Blues CD together at the Radio Krakow Studio, entitled The Other Side Of Blue. The CD was released in Poland in 2003. Other Tours within Poland, and adjacent countries followed, along with national Live-TV Performances, including the Polish Oscars at which the JBBO won an Award once again for being "The Best Jazz Band of the Year," presenting Jean Shy as their Special Guest. The performances, and the CD received a great response from critiques, and audiences alike.

In September 2004 Jean got a leading part in a National TV Spot as well as the Print Advertisement for Target, one of the largest Department Stores in the USA. She also hosted her new Cable TV Talk Show In the Spotlight with Jean Shy.

Jean Shy’s second Gospel Album entitled One Day is a mixture of live, and Studio recordings with her Shy Guys. The Album, as well as the first Radio Single entitled "Precious Memories" was released in the US on April 14.2005, as a joint Venture between King Edward Records, and Featherstone Records, and received much Airplay on Gospel Radio Stations across the country.

On Oct. 31.2008 King Edward Records released the Jean Shy & The Shy Guys CD The Blues Got Soul. In conjunction with this Album Jean Shy received a nomination from the Blues Foundation for the 2009 Blues Music Awards in the category of Soul Blues Female Artists of the Year.

The Music of Jean Shy & The Shy Guys are comparable to The Rolling Stones, ZZ Top, Led Zeppelin, and Aerosmith.

The latest of Jean's 13 Albums entitled "Blow Top Blues," was released September 29, 2010 on King Edward Music. On this CD Jean Shy presents yet another part of her "World of Blues," which is contrary, but definitely not inferior in Style from her previous Jean Shy & The Shy Guys release "The Blues Got Soul."

Blow Top Blues is a brilliant Album compilation ranging from the Style of Dinah Washington, and Tony Bennett, to Ray Charles and Aretha Franklin. Seeing that Jean is also a Songwriter, the CD includes a few of her own compositions. The Tracks were recorded with the three main Bands that Jean has been performing with in Europe for many years. The "Friends" on this CD are: Shy's own Band The Shy Guys (Germany), The Climax Band Cologne (Germany), and the JBBO (Jazz Band Ball Orchestra, Poland). Three of the Tracks were produced by Michael McGregor for one of Jean Shy's Solo Albums. Last but not least, a powerful re-mastering of all Tracks was done by Mastering great Bob "Big Bottom" Lanzner. Altogether this makes up a superb, and unique CD that shows off that the "Blues" burns in Jean's veins, no matter what style of the Blues she sings. On February 15th 2011 the CD was nominated by the 10th Independent Music Awards as "Blues Album Of The Year."

A critique once described Jean's performance as follows: Jean Shy has the conciseness of a Tina Turner, the vivid Northern-Soul feeling of a Van Morrison, the expressiveness of an Etta James and she convinces above all with one thing "honesty."

Bob Esty: Thank you Loulou, for this Blog about Jean!! The only correction I would make: "Night Dancer" unfortunately is not on the Soundtrack "Roller Boogie", alas!!

Randy Jones European Medley

2011-05-24T15:08:00.000-07:00

Randy Jones (born on 13 September 1952 in Raleigh, North Carolina, United States) is an American disco and pop singer and was the original cowboy from Village People.
As of 2006, he currently lives in New York City.
He attended Enloe High School in Raleigh, North Carolina and graduated in 1970. While there, he was a founder of Enloe's Drama Club, which was then called "Amicus Scaena"; Latin for "friend of scene" or "friend of theatre".
Jones had a marriage ceremony with his partner of 20 years, Will Grega, at a New York club on May 7, 2004. Although the marriage is not legally-binding as gay marriage was still illegal in New York state, Jones commented that: "It's only a matter of time before the courts rule in favor of what's morally right and humanly decent." The pair published a book together in 1996, titled Out Sounds: The Gay and Lesbian Music Alternative.
He released in 2007 a disco and pop solo album Ticket to the World.
In 2009, he appeared on Flight of the Conchords in their music video for "Too Many Dicks".
Randy Jones is planned to appear as himself in the video game Postal III.

Jayne Edwards - It Should Have Been Me 1984

2011-05-24T14:56:00.000-07:00

Jayne Edwards recorded this song on Profile Records in 1984 written by Norman Whitfield and produced by Rick Gianatos. It was previously recorded by Yvonne Fair, Gladys Knight and Kim Weston.
Mr. Gianatos is still producing some of the best disco music today - using the formula of "vocalist first", an element which made disco music a big success.

Donna Summer ft David Foster - Last Dance (2011)

2011-05-24T14:35:00.000-07:00

REISSUE: Pleasure Island - Glenn Rivera ReStructure Mix - Paul Jabara

2011-05-24T14:20:00.000-07:00

Mr. Paul Jabara - what else can I say?

This man has given so much to disco/dance music and was a true believer in the the beat - up to the end. Paul left us in 1992. His music and talent still lingers on and on and with projects such as authoring Donna Summer's "Last Dance" and The Weather Girls' "It's Raining Men" as well as many, many other dance projects with talents such as, Rachel Welch - this man is set in stone in my museum.

"Pleasure Island" is a track from his 1978 "Keeping Time" LP - produced by Mr. Bob "Magic" Esty - this track is a hypnotic trip. It is similar to the outline of Tantra's "Hill Of Kat Mandu" where you are lured into a mysterious place and then placed there with an interlude of fierce and magical orchestrations. And this track existed prior to classics that may have followed.