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)
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
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:
T-Connection was one of those groups during the late '70s and early '80s that blurred the line between funk and disco. Unlike virtually all of their peers, they were from the Bahamas; led by vocalist, guitarist, and keyboardist Theophilus "T" Coakley, T-Connection's membership was fleshed out by Kirkwood Coakley (bass, drums), David Mackey (guitars), and Anthony Flowers (drums, percussion). Shortly after the group's 1975 inception, they decided to relocate to Miami, FL, and ended up signing with Dash, an offshoot of Miami's T.K. Disco. The group's affiliation with that label spawned four albums released between 1977-1979; "Do What You Wanna Do," released in 1977, would become the most popular highlight of their career, reaching number one on Billboard's Disco Singles chart and also registering at number 15 on the R&B chart. Once their time with T.K. was up, they signed with Capitol and headed north to New York. Four more albums steeped in synthesized funk followed for the group until they opted to stop (the title track from 1981's Everything Is Cool peaked at number 15 on the R&B chart). A number of retrospectives have hit record-store shelves since then; Classic Masters, released in 2002 by Capitol, is the best of the bunch.
