One of the funkiest albums Sergio Mendes ever recorded - a monster of a record that's filled with enough dancefloor groovers to have had a big impact on the soul market in the US! There's still elements of the older Mendes modes, especially in the way the vocals float nicely through the mix. Overall groove is polished 70s soul, with plenty of jazzy touches, similar to the modern soul generation coming up on labels like Capitol or Elektra at the time. The group delivers a landmark version of Stevie Wonder's "The Real Thing", a killer stepper that's kept the album alive for years...
Summer is coming and my 2nd release to! After the big success of Barna Vs. Porto Ep on OCSID Music, (sold out in 1 month), im proud and excited to announce my next 12". It will be a limited summer edition on Mindless Boogie with edits by me and Peter Visti. Release date: end of June.
Jean-Marc Cerrone was born in Paris, France but hopped to London, England to record his first successful albums. A drummer, composer, and producer he first left Paris in 1975 to record what became his most popular LP Love In C Minor. He started producing and performing music at 18 when he worked as the Orchestra Leader at the Club Mediterranee. Two years later he signed an exclusive contract with French producer Barclay, and recorded what he dismisses as uncommercial songs with little chance of broad acceptance. Cerrone was already a successful entrepreneur in Paris, he owned three large, influential record shops, but went to London when he couldn't find a French company interested in his more contemporary creation. In London, he contracted with Island Records to press 5,000 copies of his new recording. They sold like hot cakes and when the smoke cleared, Love In C Minor had sold an astonishing 10 million copies worldwide, and established Cerrone as France's first disco superstar. Subsequent albums' Cerrone's Paradise (1977), Supernature (1977) and Golden Touch (1979), and Angelina (1979), all went gold to further enhanced Cerrones' Midas Touch. He started Malligator Records to release his work and others including Kongas, Don Ray, and Revelation - all had international hits. Other Malligator artists include balladeer Bobby Solo, and Rod McKuen. Atlantic Records distributed Malligator in the United States, and CBS Records everywhere else. Cerrone's success waned in the 80's but he kept pumping out albums and producing product on others. Nothing, however, approaches his mega single "Super Nature," a 1978 release from an LP of the same name that left skid marks on the International Charts.
This is one of my favorites ever! It can't have been a very big seller as it only spent one week at #20, before disappearing from the chart forever! Magically, this track manages to combine the sound of Chic, Roy Ayers and Patrick Adams. After years of gathering dust, this track was finally revived in the late 80's by the likes of Norman Jay and Sean P on pirate radio. Nowadays, it was become one of the most collectable and talked about disco 12"'s.
The Mary Jane Girls were the product of punk-funkster Rick James. The group (which in its early formation included Bride of Funkenstein Sheila Horne) began as James' background singers for his live show. In 1983, perhaps following the precendence of other artists with gimmicky girl groups like Prince's Vanity 6 and George Clinton's Brides of Funkenstein, Rick got four main ladies together for the debut Mary Jane Girls album. While the entire album was written and produced by Mr. James, the different songs and fantasy stage personalities for each of the women represented that there was something for everyone.
For instance, "Candi" (Candice Ghant) portrayed the classy diva. "Cheri" (Ann Bailey) played the part of a young, innocent preppy. "Maxi" (Kim Wuletich) acted as a wild leather queen. And lead vocalist "Jojo" (Joanne McDuffie) was sort of like a female version of Slick Rick, complete with beaded cornrows and an in-charge attitude.
Surprisingly, behind the glossy exteriors, this group packed a lot of talent and, in my opinion, their self-titled debut was one of the bright spots in early 80s R&B. It's songs "Candy Man" and "All Night Long" are bonafide "ol school" classics, combining Rick's very tuneful grooves with the ladies' melodic harmonies. And the temptuous "Boys," with it's lyric "You can call me any week /when you feel the need to freak," is a gem that rivals anything on SuperFreak Rick's own records.
For their second album Only Four You, released in '85, "Cheri" was replaced by Yvette "Corvette" Marine, playing the part of a wild 'n trendy girl. It spawned two top ten singles which were both funky, both typical Rick productions: "In My House" and "Wild & Crazy Love." And on side 2, each of the ladies has their own tailor-made song to sing lead on.
Unfortunately, two albums would be all the world would get from the MJGs, though they did record a modestly successful cover of Franki Valli & the Four Seasons' "Walk Like a Man" for the soundtrack of A Fine Mess in 1986. When Rick James parted ways with Motown in the mid-80s, the Mary Jane Girls got lost in the shuffle. And despite rumored plans to release a third album with the help of producers Jimmy Jam & Terry Lewis, they disbanded in '87. Some years later, one of the members would sue Paula Abdul saying that it was mainly her vocals on the choreographer-turned-singer's Forever Your Girl album. And then a few other members were interviewed on a TV segment where they alleged that James had treated them badly while they worked for him. "Corvette" would wind up singing backup for Teena Marie in the late 80s.
For sure everybody, (the disco freaks!), know one of the best disco Blogs on the Web..., Run by Chris, based on South Africa, Another Night On Earth.
Once again and with pleasure, one of my edits is in exclusive on another blog. Check it, and show some love to Chris; he is a gentleman for share with us some of the best tracks on the planet.
Tom Browne (born October 30, 1954, Queens, New York), commonly referred to as "Mr. Jamaica Funk", is a jazz trumpeter who rose to prominence first through his early work with Sonny Fortune and for his 1980 single "Funkin' For Jamaica (N.Y)".
Browne originally played piano, having taken lessons from the age of 11. Turning to the trumpet, inspired by his collection of jazz albums, his first gig was in a Queens club, The Village Door. In 1975, he landed his first professional gig with Weldon Irvine.
From here he played with Sonny Fortune and Lonnie Smith and was later introduced to Dave Grusin and Larry Rosen at GRP Records via Earl Klugh. Grusin and Rosen signed him to GRP (via Arista Records) and Browne broke onto the music scene in 1979 with a highly acclaimed instrumental jazz fusion album Browne Sugar, although this was not released in the UK. His first real breakthrough came in 1980 with the release of "Funkin' For Jamaica", taken from his second album Love Approach. The single hit #1 on Billboard's Hot Soul Singles for 4 weeks, and was also a UK Top 10 hit, and featured the lead vocals of Tonni Smith.
Continuing his association with producers Grusin and Rosen, his next albums were Yours Truly (1981), including "Fungi Mama" and "Bye Gones", and "Magic" (1982), before he signed directly to Arista. Here he progressed into an electro style of jazz with "Rockin' Radio" from a 1983 album of the same name (which also included a final GRP production "Brighter Tomorrow"). In 1984 he recorded a final Arista album Tommy Gun, which featured Siedah Garrett singing lead on the leading moment "Secret Fantasy" produced by Maurice Starr. Also in 1984 he recorded with Fuse One on their Ice album.
He also recorded with Roy Ayers on "Goree Island", taken from his In The Dark album. Browne moved to Malaco Records and performed a large amount of session work. In 2000, Browne re-recorded "Funkin' For Jamaica" on Jazz FM's 101 Eastbound compilation album alongside fellow jazz artist, Bob Baldwin. The track re-utilised the vocal skills of Tonni Smith (featured on the original).
Oxigenio Radio invite me to made a Dj set for a weekly program called "Last Night A Sj Saved My Life". With pleasure i accepted, because for me it's one of the best radios here in Portugal. Like usual, i want to share it with all the people who keep passing by.
Here is the playlist:
01. Chic - I Want Your Love (Todd Terje Edit) 02. J. Jabre, Bibi & Mellow Dee - And You Dont Stop (SDC Disco Mix) 03. Earth Wind & Fire - Beijo + Giving My Love (BSMachine Remix) 04. Deodato - Keep It In The Family (Jellybean 12" Remix) 05. Roy Ayers - Can't U See Me 06. Best Friend Around - It's So Good To Know 07. Voyage - From East To West 08. Silvetti - Spring Rain 09. The Jones Girls - Nights Over Egypt
Larry Levan is quite possibly the most beloved DJ in the history of Dance music. Larry Levan and his friend Frankie Knuckles experienced the first rumblings of Disco and what became Dance music as we know it in the early 1970's as precocious teenagers. They soon built personal connections into professional DJ opportunities. While Knuckles headed to Chicago as one of the acknowledged founders of House, Larry Levan helped move Dance music from the crash of Disco to a new eclectic stew that entranced mixed audiences of multiple ethnicities and varying sexual orientations. His residency at Paradise Garage is legendary. Unfortunately, Levan's own life came to an abrupt tragic end in 1992 but his innovations and his inspiration live on.
Larry Levan was born Laurence Philpot on July 21, 1954 in Brooklyn. Larry and Frankie Knuckles grew up amongst the New York City black gay bar scene. According to Knuckles they were introduced to each other by a drag queen who went by the name of Gerald and they both became part of the underground Voguing scene in which drag queens would compete against each other by throwing shade, or, in other words, visually demonstrating attitude. Levan and Knuckles quickly became entranced by the early Dance music scene in Manhattan, particularly after attending parties at David Mancuso's Loft. They were amazed by both the mixed nature (ethnicities and sexual orientations) of the crowd invited by Mancuso and the music itself. The two became well known on the club circuit and by 1972 had worked their way into helping out DJ Nicky Siano with setup at The Gallery. Larry Levan also began to hang out at Continental Baths and before long had managed to obtain a regular DJ gig for the Baths' small dancefloor. In 1974 the Continental Baths shut down and Frankie received a resident gig at SoHo Place, a new club modeled after David Mancuso's Loft parties.
After Richard Long, owner of Soho Place, made plans to shut down near the end of 1975, Larry Levan received a call from Michael Brody about a new club Brody was opening. The new club at 143 Reade Street was outfitted with a sound system built around Klipschorn speakers and designed with memories of David Mancuso's Loft in mind. Larry Levan had already developed a following and his reputation grew at Reade Street. The club developed notoriety for free-flowing drugs and a highly sexual atmosphere. With overcrowding and safety concerns mounting, Michael Brody was forced to close Reade Street, but before it closed he secured an agreement with Larry Levan that Levan would spin records at Brody's next club venture.
The new Dance venue opened by Michael Brody was Paradise Garage. With funding from Brody's partner Mel Cheren and a sound system designed by Richard Long, Al Fierstein, and Larry Levan himself, Paradise Garage began operation hosting construction parties in 1977 to raise funds to complete work on the club. The official opening took place on February 17, 1978. Among the New York City Dance music elite, Larry Levan quickly became known as the top DJ working in the top club in the entire city. Billboard magazine's Disco Convention voted Paradise Garage Best Club and Best Sound System in both 1979 and 1980. Larry Levan became known for his ability to completely control the mood of his crowds through changes in the music being played and manipulation of lighting and sound controls. He took his primary inspiration from the work of David Mancuso and Nicky Siano but then created an entirely new atmosphere. Larry Levan was the only resident DJ at Paradise Garage for its nearly 10 years of existence. One of Larry Levan's legacies is the Dance music genre called Garage named in honor of Paradise Garage. However, the Garage style, an updated elegant expansion of classic Disco rhythms and vocals, is merely one small part of the music Larry Levan would play on a given night. The music he played could veer from classic Disco to Rock, Punk, Rap, various sound effects and back again. The mood or message being delivered was all important, and the music was a vehicle for creating or delivering it.
Shortly after he began spinning records at Paradise Garage, Larry Levan moved into the remixing booth as well. With plenty of experience mixing various elements of Dance recordings live in the club, it was only natural that Levan would use his talents on recorded remixes. Among his early successes was a stripped down version of Instant Funk's I've Got My Mind Made Up in 1978 that ranks as one of the all-time great remixes. Among his other notable recorded mixes are Taana Gardner's Heartbeat, Central Line's Walking Into Sunshine, and Loose Joints' Is It All Over My Face?. In the early 80's Larry Levan took on production duties as well, most notably for The New York City Peech Boys' classic Don't Make Me Wait. Later in the decade he created notable remixes for Gwen Guthrie and Patti Austin among others. On record Larry Levan's music is noted for his use of synthesizer washes, Electro beats, and smooth, heavy bass lines that lay foundations for much of Garage and House to come.
By the late 1980's Paradise Garage was falling on difficult times. Owner Michael Brody was gravely ill from the ravages of AIDs and Paradise Garage elected to close with a massive final party September 26-27, 1987. An estimated 14,000 people walked through the doors in 48 hours. The club's closing was a serious blow to Larry Levan. He assisted Ministry Of Sound in England setting up a new club modeled on the spirit of Paradise Garage. Relatively brief residencies took place at The Choice, Mars, and Sound Factory. However, it was clear that many years of a punishing lifestyle including drugs was having a physical impact. Larry Levan embarked on a final tour in 1992 with Francois Kevorkian. Larry Levan passed away on November 8, 1992 three months after the tour concluded. Larry Levan's legendary status has continued to grow with the passage of time. West End Records continues to help sponsor parties every year to celebrate Larry's birthday, and his spirit lives on in the countless DJs, remixers, and artists influenced by his talents.
It's because of this gentleman i have this love and passion for disco. Thank you Larry for the inspiration. Rest in Peace...
Portuguese Blog Hit Da Breaks, make a post about Barna Vs Porto Ep release party's. I made an exclusive mixtape for them with the follow tracklist:
01. Will Powers - Adventures In Sucess (Dub) 02. Claudja Barry - Love For The Sake Of Love (Pete Herbert Edit) 03. Bangles - Walk Like An Egiptian (Todd Terje Edit) 04. That Thing - That Thing (SDC Edit) 05. Crown Heights Affair - You Gave Me Love (Greg Wilson Edit) 06. Reverso 68 - Piece Together 07. Steve Miller Band - Macho City (Harri Edit) 08. The Stranger - Shining Star (SDC Edit) 09. Pam Todd - Together (Mr. Chinn's Eternal Love Mix) 10. Inner City Express - Dance & Shake (Beedle's Heavy Disco Edit)
John Davis is an arranger, producer and musician. He is noted for creating several disco anthems during the late-1970s. He released his first album in 1976 with Night and Day. The 12" single of "I Can't Stop" was one of those original tunes. The album enjoyed minor success, mainly because of John's brilliant arrangements, but the mix for success was not the disco-tizing of standards, a practice that was common in 1976.
His second release with his band, The Monster Orchestra, was 1977's Up Jumped The Devil. By 1978, disco had reached its peak, so had John's career. With that peak came his third album, Ain't That Enough For You. The album was his most commercially successful release, featuring the self-title hit "Ain't That Enough For You."
1979's The Monster Orchestra Strikes Again! would be his final album release. The album had two stellar 12" singles. "Love Magic" would rival his previous success and go down as his second most notable track. While "Bourgie Bourgie" would become the definitive version of the Ashford & Simpson penned classic.
Disco died the next year and so too did The Monster Orchestra. In 1990, a remix of "(Feel The) Love Magic" was released and it became a club hit all over again. And in 1992 he wrote, produced and performed the "Theme From Beverly Hills 90210."
Another exclusive mix here on SDC Blog. No playlist on this one, sorry..., because it's a live set! Pete Herbert playing 30 November 2007 at Trintaeum (Porto), and gently give me permission to record his amazing music.
Even if many Modern Soul aficionados know the track "I’m back for more" well, very few people though can say who actually composed it: Kenneth "Kenny" Stover, of course!!! Kenny’s career began thank to Harvey Fuqua, leadsinger of moonglows and well-known producer at Tamla Motown, who enabled his cousin "Kenny" to write his first songs for the prince of soul marvin gaye.
That is therefore in 1972 that Kenny wrote his first track you’re the man (part i & ii) that Marvin recorded during the session of what's going on . Before finalizing his album, theTamla Motown decided to test the potential hit of you’re the man (part i & ii) (to listen to absolutely) on 45s. Unfortunately, that track did not meet the expected success, and the Motown will not choose it for the album.
In the meantime, Kenny Stover made his first steps as a backsinger for Marvin on the cult track "Inner City Blues" from the same album. After that, Kenny wrote a few hits such as the famous let's get it on for Marvin Gaye and a few tracks for other artists of the Motown such as "Diana Ross" with "Lovin', Livin' and Givin" on her album ross, …
In 1977 he created with 2 other accomplices, "Johnny Simon" and "Allen Few, the band leo's sunshipp they named as such because they were all 3 born under the sign of the Leo. During the recording of their only album we need each other, Kenny composed the famous "give me the sunshine" and the great mellow hit "I’m back for more" that will be found the same year on the album of tavares : madam butterfly. Unfortunately the band only made one album as "Johnny Simon" passed away before the album came out. But the year after, Kenny formed another band finished touch and they signed on the Motown a small success with the track need to know you better.
Considering the small success met by his two albums, Kenny continued to work in the shadows of artists like bobby nunn , peabo bryson , but "I’m back for more" will remain his best track and will later be recovered by worthy representatives like tavares, marlena shaw, al johnson, lulu and bobby womack and sampled by many rappers like will smith...
Timmy Thomas (born 13 November 1944, Evansville, Indiana) is an American R&B singer, keyboardist, songwriter, and record producer, best known for the hit song, "Why Can't We Live Together?".
Thomas first attracted interest for his work as an accompanist with Donald Byrd and Cannonball Adderley, before working as a session musician in Memphis, Tennessee, and releasing singles on the Goldwax Records label. He had little solo success until he moved to Glades Records in Miami, Florida, and in late 1972 he released "Why Can't We Live Together?". This was a memorable and heartfelt message song distinguished by its soulful organ, stripped-down production with a simple drum machine, and impassioned vocals. The record topped the Billboard R&B chart, made the top three in the Billboard Hot 100, and Top Ten in many other countries including the UK.
He also continued to work on sessions for TK Records artists, including Gwen McCrae, and in later years as a producer.
El Coco was the best-known of several projects by cult disco favorites W. Michael Lewis and Laurin Rinder, who produced, arranged, wrote, and played all the instruments on the vast majority of their material. Their distinctive sound was partly a result of their jazz training, which showed up not only in their arrangements and chord progressions, but in the overall musicality and sonic imagination. Rinder had been a longtime session and touring drummer for rock and soul artists, and played on sessions at Motown and Muscle Shoals. He met keyboardist Lewis in Los Angeles during the late '60s at an audition for the Standells; the two went on to play in a rock band called Joshua, and in 1973 were hired by the AVI label to play on some extended R&B remixes geared for danceclub play. Thus hooked into the emerging disco sound, Rinder and Lewis began producing and recording their own tracks in 1975, issuing the LP Caravan under the fictitious group name El Coco (a drug reference). Mondo Disco followed in 1976, as did Let's Get It Together, the point where they really hit their stride. The title cut was co-written by singer Merria Ross and was a substantial club hit, breaking El Coco on the disco scene. The title tracks on 1977's Cocomotion and 1978's Dancing Paradise were also successful, with the former (again co-written by Ross) ranking as El Coco's best-remembered outing. By this time, Rinder and Lewis were producing TV theme music as well, and began issuing side projects on the Butterfly label as well; these alternate guises included Tuxedo Junction, Saint Tropez, le Pamplemousse, Rinder Lewis, and the Rinlew Allstars. Following 1979's Dance Man, the duo retired the El Coco name to concentrate on their other projects; in the wake of the anti-disco backlash, they remained in television for a time during the early '80s before retiring from music.
AVI Part 7 Lp "Cocomotion" [AVI 6012] (1977) 12' "Cocomotion" [PRO-12-6012] (1977)
All MP3's are for promotional purposes as a means to expose artists and labels that I feel passionate about. This blog is in no way intended to infringe on copyright or intellectual property. If you want a track taken down let me know.
