Happy New Year!

Happy new year to all!

Here's a gift, (personal weapon), to close properly the (good) year of 2008..



Gichy Dan - Cowboys & Gangsters (Social Disco Club Edit)

Walking In The Rain

Flash and the Pan was an Australian New Wave group (essentially an ongoing studio project) formed in the late 1970s by Harry Vanda and George Young, both former members of the Easybeats. George Young is also an older brother to Angus Young and Malcolm Young of AC/DC.

Until the release of "Waiting for a Train" in 1983 they had been a one-hit wonder in the UK, which was a coincidence as the expression 'a flash in the pan' denotes something that is only briefly popular. The duo gained further exposure through the track from their debut album, "Walking in the Rain", which was later covered by Grace Jones.

A big personal favorite for these raining days..

Flash & The Pan - Walking In The Rain

Again & Again

Love De-Luxe was a disco studio group assembled by British producer Alan Hawkshaw. They had one chart entry: "Here Comes That Sound Again," which spent a week at #1 on the Hot Dance Music/Club Play chart in 1979. Vicki Brown and Jo-Ann Stone provided the vocals and the track was technically credited to Love De-Luxe with Hawkskaw's Discophonia.

This is the re-edit i made to feet in my dj set's...Take me ages to put together!

Hope you all enjoy!

Love De-Luxe - Here Comes That Sound (Social Disco Club Re-Edit)

Mindless Boogie 017 (Social Disco Club Edits) Out Now!

Finally, my new baby is available at the worlwide record stores!

Here's the Piccadilly revue:

"After doing such a great job on Mindless Boogie #14, Social Disco Club return with another three gems for the boogie repertoire! First up is "Clap Pat Clap Slap", a rework of evergreen 60s pop favourite "The Clapping Song" by Shirley Ellis. Needless to say, this being a Mindless Boogie, the tempo is taken down a notch or two, and there's some tabla drum wobbles and a 4/4 beat added. Sure to create complete mayhem on the dancefloor as everyone tries to follow those instructions while being a little bit worse for wear (trust me; as a serial clapping-in-the-club offender, only women will be able to do this). Also on a downtempo tip is a great soft rock cover of Tata Vega's "Get It Up For Love" (unless hers was a disco version of this!). Lastly, we get another 70s soft-rock-becomes-Balearic classic in the shape of Graham Nash's "Better Days", again, given the Social Disco Club treatment. Three big tracks make this an absolute must!"

"Unless hers (Tata Vega) was a disco version of this" - Yes it is.

Puddin

Maynard Parker’s disco masterpiece “Puddin’” gets re-edited by Kenny Dope. As writer, arranger, and producer, Parker cooked up a funny desert here, as the lyrics spin: “Puddin is my true love, Puddin’ is my life” …say what?! What’s understood is the vibe, minimal and hypnotic.

Belles Farmes Estate - Puddin (Kenny Dope Re-Edit)

Slip Away

Pat Metheny was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility - a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument.

Metheny's versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. He has been part of a writing team with keyboardist Lyle Mays for more than twenty years - an association that has been compared to the Lennon/McCartney and Ellington/Strayhorn partnerships by critics and listeners alike. Metheny’s body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical.

As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996). He has also taught music workshops all over the world, from the Dutch Royal Conservatory to the Thelonius Monk Institute of Jazz to clinics in Asia and South America. He has also been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a serious musical instrument. Years before the invention of MIDI technology, Metheny was using the Synclavier as a composing tool. He also been instrumental in the development of several new kinds of guitars such as the soprano acoustic guitar, the 42-string Pikasso guitar, Ibanez1s PM-100 jazz guitar, and a variety of other custom instruments.

It is one thing to attain popularity as a musician, but it is another to receive the kind of acclaim Metheny has garnered from critics and peers. Over the years, Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for (Still Life) Talking, Letter from Home, and Secret Story. He has also won sixteen Grammy Awards spread out over a variety of different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums. Metheny has spent most of his life on tour, averaging between 120-240 shows a year since 1974. At the time of this writing, he continues to be one of the brightest stars of the jazz community, dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their audience as well as realizing their own artistic visions.

Pat Metheny Group - Slip Away

Social Disco Club 4th Release

November will be the month of my 4th release.

Label is again Mindless Boogie, this time with 3 SDC tracks.

Tracklist:

A1. Clap Pat Clap Slap (Social Disco Club rework)

B1. 4 Love (Social Disco Club edit)

B2. Better Nights (Social Disco Club edit)

"One of the best Mindless Boogie!!!"

Aeroplane (Eskimo)

"Thanks a lot. Good work there!"

Ray Mang (Mangled)

"Bravo on the slow stuff! ND is great... be well"

Kon & Amir (B.B.E)

"Im in love with Clap Pat"

Scott K (Boxmusic)

PREVIEW

I have loads of releases coming out, so stay tuned! 

Computer Incantations For World Peace

Ponty is the son of a violin teacher, who began his instruction before he moved on to the Paris Conservatory. By the mid 1960s he had moved towards jazz, recording with Stéphane Grappelli and Stuff Smith. Ponty's attraction to jazz was propelled by Miles Davis's and John Coltrane's music, which led him to adopt the electric violin. Critic Joachim Berendt wrote that "Since Ponty, the jazz violin has been a different instrument" and of his "style of phrasing that corresponds to early and middle John Coltrane" and his "brilliance and fire".

Ponty subsequently worked with Stéphane Grappelli, the Mahavishnu Orchestra, and Frank Zappa, and appeared on more than 70 recordings. His symphonic style to jazz fusion made him a popular fusion artist of the 70's. In 1972, he featured prominently on Elton John's Honky Chateau album.

In 1977 he pioneered the use of the 5-string electric violin, with a lower C string. He sometimes also uses a 6-string electric violin called the Violectra, with low C and F strings – not to be confused with the violectra he played from the late 1960s to the mid-80s which had 4 strings, but tuned an octave lower. Ponty was among the first to combine the violin with MIDI, distortion boxes, phase shifters, and wah-wah pedals. This resulted in his signature, almost synthesizer-like sound.

Jean-Luc Ponty - Computer Incantations For World Peace

So Funny...

It's funny the ignorance of some journalists...

...Nice party, very good organization, cool people dancing and enjoy my music.. until now all ok!, my surprise is when today i read the party article on a local newspaper...

"...varied songs like Beyonce..."

WTF??

The only thing i like on Beyonce is her ass!

So, just to you know miss journalist, what i play is the 1970 soul gem "Are You My Woman"
;)

I'll Always Love My Ana

Formed in the early sixties, The Intruders were four Philadelphians, Sam "Little Sonny" Brown, Eugene "Bird" Daughtry, Phillip "Phil" Terry and Robert "Big Sonny" Edwards. Singing together since 1961, the group blended Philly's street corner doo-wop tradition with black gospel influences that attracted Kenny Gamble and Leon Huff to sign them to their fledgling record company, Philadelphia International Records.

In 1968, "Cowboys to Girls," written by Gamble and Huff, was a break-out million dollar seller that was considered to be the prototype for the emerging Sound of Philadelphia. Followed up by "(Love Is Like A) Baseball Game," The Intruders became known as innovators of Philly soul.

Robert "Bobby Star" Ferguson joined the group in 1970 and re-ignited their string of hit singles with "When We Get Married" and "(Win, Place or Show) She's a Winner." "I'll Always Love My Mama", a collaborative writing effort by Gamble, Huff, McFadden and Whitehead, was released in 1973.

The Intruders were essential in the evolution of the Sound of Philadelphia. In 1973, they joined Billy Paul and The O'Jays in a European tour that brought the Philly Soul overseas. They are credited as being a cornerstone of the Philly Sound and remain close to their Philadelphia origins.

The Intruders - I'll Always Love My Mama (12" Mix)

El Conquistador

Actually nicknamed after his instrument, Johnny "Hammond" Smith was perhaps one of the more underrated soul-jazz organists of the style's heyday.
Born John Robert Smith in Louisville, KY, on December 16, 1933, Smith began learning piano as a child, idolizing Bud Powell and Art Tatum early on. After moving to Cleveland, Smith heard jazz organ pioneer Wild Bill Davis and decided to switch instruments; he made his professional debut on the organ in 1958, around the same time he was working as an accompanist for vocalist Nancy Wilson.

In 1959, he began recording as a leader for Prestige, an association that would last through 1970 and produce highlights like That Good Feelin', Talk That Talk, Black Coffee, Open House, Ebb Tide, and Soul Talk, among others.
As time passed, Smith's style got progressively funkier, and in 1971, he shortened his name to Johnny Hammond and moved to producer Creed Taylor's CTI label family.

Hammond recorded five jazz-funk albums over the next three years, including Breakout, Wild Horses/Rock Steady, and the Mizell Brothers-helmed Gambler's Life. In 1975, Hammond moved to Milestone and recorded the culmination of his move into jazz-funk, Gears, another collaboration with the Mizell Brothers that was reviled by purists and canonized by acid jazz fans. After a few more sessions for Milestone, Smith largely retired from jazz, settling in Southern California and investing in real estate. He began recording sporadically again in the '90s, but was stricken with cancer and died on June 4, 1997.

RIP



Johnny Hammond - Los Conquistadores Chocolates

Isaac Hayes Tribute

Isaac Lee Hayes, Jr. (August 20, 1942 – August 10, 2008) was an American soul and funk singer-songwriter, musician, record producer, arranger, composer, and actor. Hayes was one of the main creative forces behind southern soul music label Stax Records, where he served as both an in-house songwriter and producer with partner David Porter during the mid-1960s. In the late 1960s, Hayes became a recording artist, and recorded successful soul albums such as Hot Buttered Soul (1969) and Black Moses (1971) as the Stax label's premier artist.

Alongside his work in popular music, Hayes was a film score composer for motion pictures. His best known work, for the 1971 blaxploitation film Shaft, earned Hayes an Academy Award for Best Original Song (the first Academy Award received by an African-American in a non-acting category) and two Grammy Awards. He received a third Grammy for the album Black Moses.

In 1992, in recognition of his humanitarian work, he was crowned an honorary king of Ghana's Ada district. Hayes also acted in motion pictures and television; from 1997 to 2006, he provided the voice for the character "Chef" on the Comedy Central animated TV series South Park.

RIP



Isaac Hayes - Ike's Rap II

Still The Best

Vincent Montana Jr. (born February 12, 1928) is an American composer, arranger, and percussionist, most known as a member of MFSB and as the founder of the Salsoul Orchestra.

He is the spiritual father of the Salsoul Orchestra, the backing band for the many acts on Salsoul Records. The personnel of MFSB and the Salsoul orchestra overlapped substantially, and both groups were recorded at Philadelphia's famous Sigma Sound Studios.
By the dawning of the 1980s Vincent Montana had formed his own record label called Philly Sound Works (PSW) to put out his own product.

In recent years Mr. Montana has worked with famed house music duo Masters at Work, which has rekindled interest in his work. Ken Cayre, founder of Salsoul Records, has praised Mr. Montana's skill at scoring strings, brass, and diverse percussion in such way that it all worked within a dance recording. As Mr. Montana was among the first with his considerable training and skill to apply such scoring technique to disco-oriented recordings, it is safe to say he is a true pioneer in the field.

Montana and famed mixer Tom Moulton had a rocky professional relationship at Salsoul, most likely because Moulton was in the constant position of retouching Montana's work (this was Moulton's appointed profession). In reality, both men would seem to have little reason to be adversarial: They share a legendary status in dance music culture (Evidenced by Montana's invitation to work with MAW two decades after his peak period, the sleeve notes of Nuyorican Soul and the numerous web pages about Moulton).

Most recently, Vincent Montana Jr. has worked on 'New York City Boy' by the Pet Shop Boys.

Montana Orchestra - I'm Still The Best (Moogy Synth Mix)

Cash Money

Obscure and very rare album, Disconnection is one of the most sought after releases on the Prelude Record label! Great, warm and soulful disco in the best 70's Prelude mode!

All the tracks were written and produced by Robert Holmes, and they're simple clubby numbers with a high-stepping groove and a nice dose of boogie-heavy funk. Some tracks have vocals by unnamed singers, but overall the strength of the set is its instrumental approach, especially on the tracks with keyboards that groove out in solos! Among the tracks: "Dead On The Case", the superb "Cash Money" and "Straight Up" with the 60s italian soundtrack style. A must have album!!

Disconnection - Cash Money

Hold Me, Touch Me

The Canadian singer Caroline Bernier is an early protege of Canada's famed Tony Green, known as producer of Geraldine Hunt, Freddie James and of course, France Joli. His 1977 album with Carolyne however was not nearly as successful.

Caroline Bernier, her name also written on US releases as "Carolyne Bernier", is best known for "Hold Me, Touch Me", "Love (I Don't Wanna Hear About It)" and her stunning 16:40 track "Secret Agent Love". Her album is also noted for being orchestrated by Denis LePage (Lime) and recorded at Markos Studios. The same studio that would bring us Carol Jiani's mega-smash "Hit And Run Lover" a few years later. Caroline co-wrote two of the tracks with Tony Green and supplied the backing vocals.

Carolyne Bernier - Hold Me, Touch Me

Summer Rain

Bebu Silvetti was born in Buenos Aires, Argentina. Since he was a little kid, he knew clearly what he wanted to do: devote his life to music. At age 15 he formed his first Jazz Trio, and at 18 he left on a cargo ship for Barcelona, Spain. There he worked in several Jazz Clubs and met the love of his life: Sylvia. He came to the US, then Mexico where he started doing some jingles, and struggling to launch his carreer as a composer and arranger.

Bebu Silvetti Bebu went back to Spain where he wrote "Spring Rain", (produced by Tom Moulton), and life changed. He arranged, composed and conducted LP's for Rocio Durcal, Rocio Jurado, Raphael, Daniela Romo, Pandora. Created original scores for several TV Series in Mexico, and finally started producing for his own company "NGS" and for others, reaching the peak of his carreer when working with Placido Domingo for whom he produced 3 albums, Luis Miguel, Vikki Carr, Vic Damone and Engelbert Humperdinck. He was the best when arranging strings.

Silvetti - Spring Rain

Back In The Business

Been a long time since my last post... For multiple reasons i have to stop for a while; Divshare allows only 10gb of download and my account is all the time blocked, (now i am a pay user, so problem fixed); I was playing in Glasgow (Amazing town to drop disco beats!, lovely people), and Barcelona (playing / vacations); And working really hard for my next releases...

I think now on i will have more time to keep sharing some of the tunes i really enjoy.

To compensate the loose time, where's one 320 kbps edit i finish today:



The Earons - Land Of Hunger (Social Disco Club Edit)

Social Disco Club 3rd Release

On the OOFT Music Blog:

"The 7th L.E.S.S. Productions CD has arrived today all shiny and new. We've got versions from the fantastic Social Disco Club (A top notch midtempo Tori dub) and DJ Mash (a nice disco-funk drop for the spotters) aswell as ourselves. All are WAV / AIFF / 1411KBPS quality as usual on the CD for the audiophiles and 100 numbered copies for promotional use. Available at the moment from Five20East and soon through a few specialist stores."

Free download HERE!!

SDC Live Dj Set #5 (Mindless Boogie Release Party)

Another live dj set, this time on the Mindless Boogie release party at Trintaeum.


Social Disco Club Live Dj Set @ Trintaeum (04 July 2008)

Ps.: I will be playing in the 1st weekend of August at Glasgow, Scotland. I want to see there all of you, "Glasgow Disco freaks"! :)

01 Aug: BRUNSWICK HOTEL
02 Aug: IVY
03 Aug: SWG3 (Studio Warehouse Glasgow)

Summer In The City

My new 12" just in at the usual record shops, and is already record of the week at Juno, Phonica and Nuloop!!

Store revue's

Piccadilly:

"Mindless Boogie time again, it has been at least a month! This time Peter Visti is on hand with a re-edit of The Lovin' Spoonful's 60s chart smash "Summer In The City", which gets rolled out in a weird disco/house kinda way, not dropping the lyric til right at the end. On side-B Social Disco Club re-edit The Hollies "Draggin' My Heels", over a whole side they turn the Balearic winner into a re-edited Balearic winner".

Phonica:

"The Mindless Boogie crew returns with a 12'' that justifies the labels reputation for pure unadulterated fun, without paying any attention to notions of cool. On the a-side Peter Visti applies his re-edit talent on the Lovin' Spoonful's "Summer In The City" - ideal for the searing heat of the summer... On the flip Social Disco Club chops and re-arranges the Hollies' "Draggin' My Heals"...

On the Phonica newsleter:

"Lots of things to mention this week – we've got all 3 of our featured UDG bags in stock so click on the box and check them out. Record-wise, its all about the two main disco edits of the week – the new moxie release finally arrived a few days late but its well worth the wait and the new Mindless Boogie – the best for a while arrived today – very seasonal"!!!

Samples:
Juno
Phonica
Nuloop

(AVI) Part 8

David Williams' route to the top of the jazz world has been somewhat unconventional: it has taken him from Trinidad to London to New York to Washington, DC to Los Angeles and back to New York. But there is nothing conventional about brilliance, and as a bassist, that is what David Williams exemplifies. His sound is deep and resonant, his section playing seems effortless, his solos are rhythmic and compelling, and his intonation is flawless.

David was born in Trinidad; the island's rich musical heritage was made available to him in an invaluable way --- his father, John "Buddy" Williams, was a highly‑regarded bassist who led his own calypso band. David, meanwhile, went from piano at age 5 to violin at 6 and wasn't fond of either instrument. Although his father did not give him lessons, David watched closely and experimented with the bass on his own. He was also intrigued by the steel pans, and loved to play them. He started to play bass in earnest at age 12. When his sister was awarded a scholarship to study piano in London, David joined her, and studied bass at the London College of Music for a year.

David came to New York for a visit in 1969, and happened upon a workshop run by Beaver Harris, Grachan Moncour and Roland Alexander. When Jimmy Garrison didn't show, David sat in. One night Ron Carter came by and instead of reclaiming the gig, brought in his cello and encouraged David to keep playing. On a tip from Ron, David secured the bass spot with Gap and Chuck Mangione, and when he tired of that, followed another Carter lead to Washington, D.C. and promptly became Roberta Flack's bass player. The alliance lasted for two years, during which time David also worked with Donny Hathaway.

When he returned to New York, David was called to work in a number of situations: The Voices of East Harlem, Donald Byrd & the Blackbyrds (with whom David received his first gold record), a Brazilian gig at the Tin Palace led by Charlie Rouse. During this time he met Cedar Walton and his bassist Sam Jones; David subbed for Sam once or twice. George Coleman, Roy Haynes, Billy Taylor and Junior Cook were among the musicians who hired David; he also played regularly with Ornette Coleman before signing on with Elvin Jones for a two­year stint.

In 1976, David moved to LA and got caught up in the studio whirlwind, appearing on about 20 AVI releases with disco, funk, fusion and pop groups. He played mostly Fender bass with artists including Herb Alpert and Hugh Masekela, David Benoit, Jermaine Jackson, Tuxedo Junction, John Klemmer, even Liberace. The disco hit "Le Spank" garnered him another gold record during this period. Soul is Free, his first album as a leader, was released on AVI in 1979.

AVI Part 8
Lp "Soul Is Free" [AVI 6040] (1978)
12' "Come On Down, Boogie People" [PRO-12-202-D] (1977)


David williams - Come On Down, Boogie People (12" Mix)

Social Disco Club Live Dj Set #4

Been a long time since the last one huh?


Social Disco Club Live Dj Set @ Pitch (23 May 2008)

The Real Thing

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...

Sergio Mendes & The New Brasil '77 - The Real Thing

Social Disco Club 2nd Release

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.

More new soon...

Strollin' On

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.

Cerrone - Strollin' On Sunday

I Don't Want You Back

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.

Ramona Brooks - I Don't Want You Back

The SDC Girls

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.

The Mary Jane Girls - All Night Long

SDC Exclusive Edit On ANOTHER NIGHT ON EARTH

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.

Nice disco weekend to all! :)

Funkin' For Portugal

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).

Tom Browne - Funkin' For Jamaica

SDC Dj Set On Radio

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




Social Disco Club Dj Set On Oxigenio Radio

Larry Levan Tribute

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...


Man Friday - Love Honey

Exclusive SDC Mixtape On Hit Da Breaks

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)

You Can download it Here

This is the dates im gonna play with Barna Soundmachine here in Portugal:

- 22 Feb - LUX (Lisbon) www.luxfragil.com
- 23 Feb - DUPLEss (Famalicão) www.dupless.com
- 01 Mar - TRINTAEUM (Oporto) www.trintaeum.com

Guest Mix #4 Pete Herbert (Live @ Trintaeum)

Pedro Bruschy (Photograph)

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.

Enjoy!


Links:

http://www.myspace.com/peteherbert
http://www.myspace.com/reverso68
http://www.myspace.com/lsbsoundsystem
http://www.myspace.com/superdiscoteca

Pete Herbert Live @ Trintaeum (30.11.2007)

I'm Back! For More...

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...


Leo's Sunshipp - I'm Back For More

Why Can We Live Together?

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.

Timmy Thomas - Why Can We Live Together (Peter Visti Edit)

(AVI) Part 7

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)


El Coco - Cocomotion (Part I & II)

Release Of The Week At Piccadilly!!!

BARNA VS PORTO EP - Hip-Hop / R&B / Nu-Soul RECORD OF THE WEEK AT PICCADILLY!!!

With a little surprise (for me), my record was one of the releases of the week at Piccadilly. Im very happy!

"As you see, I've been having a bit of a round up in the ol' hip hop section, finding more than a few things that we missed right at the end of 2007, like the Paul Nice and James Pants battle tools LPs, Speech Defect 12" and (FINALLY!!) new Wu CD (vinyl's due in a week or so too!). Which leaves us with the Wax On sampler 12" (b-boy vs soul-jazz), hip hop-disco cut on the "Barna Vs Porto EP" and Lupe Fiasco album. I was going to make the Lupe Fiasco record of the week, but then US distributor Unique went bust last week, so don't know when we can get more copies... Instead I'm picking the "Barna Vs Porto EP" because you can't beat a bit of old school!"

Also, is one of the Disco / Nu-Disco best sellers at Juno.

Thanks to all the People who send me feedback!

A few more:

James Barrie (Contraflow/BBE Records) (ES)

Really f****g good 12"!!! I played the Julien Jabre & Gino Soccio tracks on my radio show this week. I need a physical copy of the 12".
Respect. James.

Benjamin Ferreira Jr. (Rraurl Mag) (BR)

I'm really happy with OCSID 2. It shows me how much we are musically connected. "Try It Out" is one of my favorite tracks ever. Great choice! Besides, Jacko and his "Don't Stop 'Til You Get Enough" got an unbelievable de/reconstruction on "Jump Up Let's Go". Last, but not least, you did a nice thing teaming up with the SDC guys, and their tracks (especially "And you don't stop") rock as well!

Darshan Jesrani (Metro Area) (US)

Hi SDC! This is Darshan from Metro Area.
I'm playing the BSMachine & Der Beat track in DJ sets - it will get a lot of airtime, I promise!
Props on the release!
Peace and be well, D

Barna Soundmachine & Social Disco Club - Barna Vs. Porto EP OUT NOW!

Great news!
My new, and first, record is available now at Juno, Phonica, Piccadilly, Fat City...

Here's some Revues:

Piccadilly

After bringing us "The Soul We Lost" EP of Marvin Gaye reworks back in May 2007, the Ocsid Music label returns with another discofied outing. The Barna Soundmachine & Social Disco Club crew obviously know what they're doing because they've come up with some real treats here. The EP opens with a looped-up edit of Gino Soccio's "Try It Out" in disco-house fashion before dropping down into the electroid workings of BSMachine & Der Beat's "Jump Up Let's Go (Megamix 2)". On the flip things get hip hop-disco-breakin' with Julien Jabre & Bibi's "And You Don't Stop" featuring an old school rap by MC Mellow Dee - and you don't stop! Lastly we're back on the disco edit tip with an SDC refix of Glen Adams Affair's "Just A Groove".

Fat City

Barna vs Porto present a great-value-for-money EP here. The A-side winner being the stripped down-edit of Gino Soccio’s ‘Try it out’, the original was a big favourite of Sir Greg Wilson’s. However, my personal favourite is the Disco-rap of Julien Jabre and Bibi featuring MC Mellow Dee on rhymes. Fonky as hell, think Sugarhill Gang, well it’s definitely got us handclapping along in the basement.

...And Feedbacks:

Mark E (Jiscomusic) (UK)

Yeah like em all, will get a play out for sure.
Cheers,
ME

Dicky Trisco (Disco Deviance) (UK)

Been liking the disco mix of "And You Don't Stop" since you sent it before. Sorry never got back but been mad busy. Nice stuff.
Cheers
DT

Maelstrom (Solardisco) (UK)

Loving the EP. Good work fella.

Pete Herbert (Reverso 68, L.S.B., Bakazou) (UK)

Thanks for the tunes...love em!

Simon Lee (Faze Action) (UK)

Thanks for all the edits, will definatley make use of these.

Down Jones (Boogie Business) (BE)

Damn SDC, your E.P. is one of the hottest of the past few years. Absolutely top quality!
I totally LOVE all the tracks on your E.P. Every edit is a winner. Superb work and I'm definitely going to buy the vinyl (I'm a vinyl head)...
More of that!
KOEN

Fratelli Riviera (Bear Funk) (IT)

Great edits man!

Aeroplane (Eskimo) (UK)

Hi there, A1 & A2 for us! Cool edits! Will play, cheers! Thx!
Stephen/Aeroplane

Will Deluxe (Scifi/Criminal) (ES)

For me "It's Just A Groove" is the one.
Thx.
Will

It's a limited edition, so if you like it be quick!
To listen the all tracks:

OCSID Music
Social Disco Club
Barna Soundmachine