As Safety Scissors and myself sat down several hours ago to rip "What's In It For Me" by Zalmac we came to a very simple consensus. The vocal mix was too "vocal-y" and the instrumental mix (somewhat ironically) was missing the instrumental breakdown we both enjoyed on the A-side. So here it is. Produced in less time (and infinitely less effort) than this "edit" actually runs, this can not be clearly defined as an edit, but rather a cut and paste of the instrumental and the vocal breakdown section resulting in the ideal mix that just now sees the light of day. Neato!
The original 12" was released on the private TSOB imprint in 1982. An image of Zalmac's only full length LP entitled "Whatcha Gonna Do" is pictured above. I really need to add dude's sleeveless leather jacket to my collection stat. Zalmac - What's In It For Me (Cut And Paste)
Here is another Cameron Paul jam under his Layizon moniker. This, like the other, is an odd bird packed with awesome sounds and freestyle flavor. The video inspired me to make a mega-mix of Cameron Paul produced tracks. If anyone can make some monitors like that for the Beat Electricians, please let us know! Layizon - The Ride Inside Cameron Paul - LeBaron's Janky Megamix
Ann-Margaret was born in Sweden and came to America in 1946. In the 1960's Ann-Margaret began a recording career in addition to her already notable film career. While her music ventures didn't prove as successful, she did have a song "I Just Don't Understand" peak on the Billboard Charts at #17 in 1961. Much later, she had this song "Everybody Needs Somebody Sometimes" released in 1981 on First American Records. The song was popular in clubs and reached #22 on the charts. "Everybody..." features brilliant production and writing by Paul Sabu and highlights the soft and throaty qualities of Ann-Margaret's voice. "Everybody Needs Somebody Sometimes (Part 2)" is percussive, with just the right amount of horns and synths.
Queen Constance Records was owned and operated by Peter Brown, of P&P records fame, so the sound of University Dances of 1978, a recording by the then house band, should come as no surprise. Gritty, stripped down seventies deep disco. Just look at the cover, those two deeply in love university scholars are doing the New York Freak, possibly to the vocal cut, or maybe even the instrumental version, both of which I'm posting in devotion to the memory of St Valentine and the love the binds us all. Such an image makes you ponder, perhaps the young man on the cover enjoyed the company of his date beyond the hours of dancing academia, and sensitively laid her down to the extended percussive breaks of the Pigeon Hustle.. one can only hope.
I've been waiting for this date to fall upon a Friday...Waiting in the dark cabin and I've cut the power or waiting in the woods and your flashlight is running out of batteries. Yes, you are cute in your ripped up mini shorts and I'm not so hot and smell like lake water. No, I'm not promoting the new movie, just the one from 1982. Er, rather just the soundtrack from this movie...I actually liked the second one more.
We rarely mention modern artists here at BE, but we make an occasional exception when we find something that garners our attention. Our friends in Codebreaker recently constructed a cover of the Jimmy Ross classic "First True Love Affair" for a website called Buffet Libre. Unfortunately the track got a little bit buried amongst the 80 or more other artists that they commissioned to cover a classic track for their Rewind 2 series. Anyways, Codebreaker dug a little bit deeper than the rest and did a fine cover, staying true to the original whilst adding a few modern touches. All in all, they produced a solid version of the 1981 Jimmy Ross/Kano masterpiece. Codebreaker - First True Love Affair
Eumir Deodato is a very accomplished arranger, producer, and keyboard player from Brazil. In the late 60's and early 70's he was mainly known for jazz and jazz funk and pressed records for CTI Records. His records never sold very well and eventually CTI folded. In the Mid 70's he signed to MCA and then pressed records on the Warner Brothers label in the late 70's. In addition to recording tracks under his own name, he produced tracks for Kool and the Gang, Gwen Guthrie, and the Dazz Band; among others. He has recently produced and arranged for Bjork.
This 1982 track shows how well he excelled as a boogie producer. It is super smooth with a funky bass up front, spacy synths in the background, and subtle vocals.
I just put the picture for this post up and realized that the two punk new wavey kids pictured probably wouldn't have been caught dead listening to David Joseph. In fact, its a shitty choice of imagery now I think about it for a boogie instrumental, but I couldn't find any good pictures of second wave eighties skateboard pro's, which is predominantly what I most enjoy looking at, so I used this pic instead. Aren't they sweet?
This is another big UK tune from the king pin of the London scene. I have been seeing the instrumental appearing on big name DJ playlists the past few years, and its a fun track to work into a set at there is a big pay off at the end of the long mixable drum intro that always kicks the energy up a notch.
I feel so hungover and sick I want to die, which I think I may now go and do. Please download this track and play it loud in my memory.
Under the guidance of legendary NYC DJ Walter Gibbons, "Set It Off" by Strafe was a massive underground club hit upon its release in 1984. Gibbons (who mixed the track) was co-founder of the Jus Born imprint which was basically formed as a catalyst for the "Set It Off" single. The track had such a profound impact that they went on to produce a female vocal version in 1985, a 1986 remix 12" as well as "Set It Off II" in '87. With its stark groove, the original version was a masterful blend of early electro, house and techno styles. Still, I quite enjoy the single as it evolved over the next several Jus Born releases.
Strafe aka Steve Standard still performs in NYC to this day. The late great Walter Gibbons (pictured above) died in 1994 and donated his massive record collection to an SF based aids charity where it was auctioned off. Many pieces of his collection are still floating around the Bay Area.
This is one of my favorite italo records. It was released on Vedette Records in 1979 with subsequent releases on Rams Horn and 1981 re-releases on Carrere and CNR. Azoto was first known as "Lucrethia And The Azoto 14,008." Azoto was produced by Celso Valli, who produced and arranged many italo classics such as personal favorites: Self Control by RAF and Walking in the Neon by Peter Richard.
This five cut record has no fewer than four classic italo tracks. All the tracks except Exalt, Exalt share a space disco meets traditional folk music sound that is a magical combination. San Salvador warps Bee Gees-esque falceto, protohouse piano, and gypsy folk into a peak hour disco masterpeice. Exalt, Exalt is just simply brilliant with a dark minimal sound and perfectly placed accents. The tune was way ahead of its time and set the stage for mid 80's italo electro.
Now I know this track has been floating around the internet for a while now, somebody circulated a recording of the vocal version and as if by some dark arcane magic it appeared on a handful of blogs simultaneously. In this case at least I'm putting up the instrumental version of possibly one of the harder hitting peek time boogie tracks in my crate, as the instrumental is all I ever play.
There are elements here that ache of pop cheese, a cylon vocoder chorus, a lyric about getting down and a chanky chank guitar line, but thats how I like it..
"I Need You" is a personal favorite of mine by Sylvester. These previously unreleased mixes were put out in 1989 on a rather hard to find "collectors edition" white vinyl 12" on Megatone Records. According to interviews and credits from the album this track came from, Howard Merritt is responsible for both of these remixes. Enjoy.
After an inspirational MLK eve opening for Boyz II Men followed by an impromptu set at the Sweater Funk party, (Thanks Jon and Guillermo) Le Baron and myself set out to make a new mix at the Joel Vuitton ranch due east of the SF Bay Area. We purposely didn't put very much thought into this in an attempt to give it a live feel. We simply hit record, grabbed some joints from our respective DJ bags, and went one for one on LeBaron's tweaked up Bozak mixer. The end result is "Funkacise", the first Beat Electric mix of 2009.
The Tracklist:
1. Rene & Angela - I'll Be Good (Special Instrumental Mix) 2. Vernon Burch - Do It To Me 3. Serena - Get Your Body Up (Instrumental) 4. Funkacise Gang - Funkacise (Instrumental) 5. Starshine - All I Need Is You (Instrumental) 6. Stone - Time (Instrumental) 7. Unique - What I Got Is What You Need 8. Karen Silver - Nobody Else 9. Wrecking Crew - You Don't Care 10. Patrice Rushen - Get Off 11. Arlana - You Can't Keep Breaking My Heart (Instrumental) 12. Billy Ocean - Night (Feel Like Getting Down) 13. Carol Shinnette with the Concrete Band - Cyanide Love 14. The Bang Gang - Street Music (Instrumental) 15. China Burton - You Don't Care (About Our Love) (Instrumental) 16. Lucy Hawkins - Gonna Get Out Of Here 17. Ahzz - New York's Movin' (Instrumental) 18. John Davis & The Monster Orchestra - Love Magic 19. Larry Jon Wilson - Melt My Igloo 20. Crosby, Stills & Nash - Dark Star BT Magnum and LeBaron - Funkacise Mix
Cameron Paul was a freestyle/ electro producer in the SF Bay Area in the 80's to the early 90's. He used to have a radio dance mix show on KSOL (which is now a miserable reggaeton station) and KMEL. He also DJed at City Nights and Studio West. He put out a few records under his own name and he remixed a lot of tracks, including Push It by Salt 'n Peppa for his own Mixx It service. He now lives in Tulsa of all places.
This track from 1989 on Tandem Records is very difficult to classify. Is it electro, is it booty bass, is it hip hop, is it house? Awesome is what it is. With the slam of an 808, the crusty synths, and the vocoded vocals it is a perfect CBS track. Sorry my copy is so jacked.
Sorry I've been so absent in the electric world of beats (well, in terms of this blog) but I thought I'd return with another installment of jack history. Chip E, the self-proclaimed "Godfather of House", released this track to clue people in to exactly what time it was. No, not a numerical indicator of a chronological state, this was more of an instruction for the dance floor (which sounds like it was issued from beneath a pillow). Nearly synchronous with the release of The Jacking Zone and numerous other jack tracks, it certainly was the time to jack in a larger scale as well.
At long last a proper rip of one of the finest disco cuts ever recorded. A year after I first dropped this gem on Beat Electric, I finally present to you the full uncut long version of You Don't Care (About Our Love) by China Burton. Ripped from a near mint pressing on DJ Joel Vuitton's incredible rig, this mp3 is pure gold.
In case you missed this post the first time around:
China Burton was a British songwriter that had success in the 80's penning tracks for Julian Lennon and Taylor Dayne amongst others. His own recording output was sparse but he did manage to release one single "You Don't Care (About Our Love)" in 1979 on the Logo Records label. This ultra rare cut has one of the hottest breakdowns of any disco number period. The soaring strings, flanged out guitar riffs and synth effects blow this track through the roof. No wonder the single fetches for over $300.00 when it very randomly pops up. China Burton - You Don't Care (About Our Love) (Long Version)
This is my first post since coming back from the UK, catching flu, getting tagged by homeland security (woohoo!) and unpacking all the records I bought on my stops along the way. I had some luck at a flea market where a nice French gentleman let me listen to his wares on a fisher price toy turntable with a pencil like needle the weight of a bag of sugar. This came out of that stack.
I have known about this track for a while, its probably one of the most slept on italo tunes I know of, its hip contemporary feel and dancey arrangement should have made it a shoe in for all those Italo 101 re issue and bootleg comps that flooded the shelves a few years ago, but for whatever reason it remains an obscurity. Enjoy:
Our good friend and occasional Beat Electric contributor Disco Tom Noble has been nice enough to produce a couple of exclusive edits for our blog. Pictured above is the "Noble Nagel" created by the infamous Patrick Nagel as a limited print for the Noble Gallery in Milwaukee. The Noble Gallery was owned by Tom's parents and reppedNagel's work until his untimely post aerobic heart attack in 1984. I am looking for original Nagel prints on the cheap. If anyone has a line on one, please hit me up. Goldie Alexander - I Want To Spend My Life With You (Disco Tom Noble Edit)
Nytro was a group that was produced by Norman Whitfield and put out two LPs on his label Whitfield Records. This track come from the 1979 followup to their 1977 self titled LP. Norman Whitfield produced tracks for Motown in the 60's and turned out hits for The Temptations and Marvin Gaye. In the 70's he produced for acts such as Rose Royce, The Undisputed Truth, and Starguard. Nytro had a funky macho lazer soul sound that paved the way for acts like Zapp, D-Train, and Midnight Star.
The Beat Electricians are all big fans of Jacko's ex-girlfriend Stephanie Mills so this post comes as no surprise. James Mtume produced all of Stephanie Mills' best tracks and put out a few records under his own name. My favorite record is one I heard over at my buddy Macchio's house. Juicy Fruit was released in 1983. Greenlight is a goovy lazer soul jam. It is my favorite track on the album. The single from the record is Juicy fruit, which was custom made for the ladies. Most of the album is incredible actually. Sit back and learn a thing or two from my main man Mtume.
"Midnight Express To Love City" by Spaceship Earth is a prime example of mid period private boogie. I know absolutely nothing about the group except they hailed from Los Angeles and this was their only release on the private Spaceship Earth label. This 12" and the post-apocalyptic cult film "The Quiet Earth" were both released in 1985. When I did an image search for the song, some images from the film came up as well as the crappy scan I found of the record sleeve. "The Quiet Earth" scared the hell out of me as a kid. In contrast, this jam is all about going on a space train to a chilled out place called Love City somewhere in the middle of the universe. One can only hope that the Earth's survivors will end up in Love City after the apocalypse goes down.
This funky soul jam was produced by the team of Reginald Brown and the brothers Johnathan and Stafford Floyd. R. Brown and S. Floyd were part of the group New York Transit Authority. They also worked together as the awesome boogie joint Can-Dee. R. Brown also produced tunes as One On One. A One One One track is in a Mix we did recently. This tune blends cosmic disco, boogie, jazz funk, and old school flavor beautifully.
So I managed to catch flu, and without turning this into a medical or self pity blog, I have managed to spend my time in the UK on my back wishing death upon myself rather than record digging and carousing as I had intended. If you got on Virgin Atlantic flight 004 from JFK to Heathrow knowing you had the flu virus and would give it to everyone in the cabin please know that all I wanted for Christmas was the opportunity to cut your head off and play in your blood.
..Anyway, I'am in the south of the UK and in classic Disco terms that can only mean one thing, Jazz Funk. I'm posting three tracks that were big on rotation in this part of the world, where the real jazz funk reigned supreme:
Index were a British studio project produced by Kris Staines in 1980. Kris went on to do the UK remix of Touch Down's "Ease Your Mind" on Streetwise in 1982 amongst a few other things. The Index project yielded only one 12" release. According to Black Shag this song actually got radio play over the years in Great Britain and I suspect Escort were listening closely to this track when they wrote their own "Starlight" a few years back. The A side vocal version has a few too many cheesy bits for my taste, but the B side "Starlight - The Break" hits damn hard with an incredible keyboard hook and souped up horn lines. A shout out to DâM-FunK who dropped this at the Sweater Funk party some months back prompting a few of us to lose our shit and go on the hunt for this rare boogie workout. Index - Starlight (The Break)
I'm on my travels right now. I spent a couple of days in New York on my way to the UK and picked up a few records I'll post later down the road. I got into London this morning and I feel terrible, the red eye flight was full of loud holiday shopping fashionistas, and am now all the more depressed after catching half an episode of 'Eastenders'. Yet tomorrow is a new day, I haven't been record digging in the UK in a couple of years, and its the season of giving so in that spirit I'm going to put up a deep and sought after European soulful disco 45 that you don't come accross often.
I can't tell you much about S.O.S by Mr. Morse And His New Alphaband, this was recorded from the Italian 7", although I heard there is also a Spanish released 7". The instrumental was even reused by EMI Italy for a local male crooners backing track, but not quite to the same effect. I do know it was an early effort of Franco Italian producer Albert Weyman, who has a pretty great myspace page, a look at his photos is a must. Its nice to hear middle aged pros from the deep funk scene are making credible euro trance: http://www.myspace.com/albertweyman
My copy came from a reclaimed jukebox out of a forgotten Americana themed coffee shop in northern Italy and cost me three shillings:
Here it is: One of the best disco tunes ever written, period. You can find this ubiquitous release sandwiched in your dad's record collection between a Barry Manilow and a BarbaraStriesandLP. It wasn't even released as an A Side for chrisakes! Had the world circa late 70's gone mad or was there so much quality music coming out that they could afford to toss this one on the flip side? Correction, it was an A Side in its UK pressing only. Ok Black Shag, you win this round mate.
Recorded and Released as the B side to the single "What Cha Gonna Do With My Lovin", "Put Your Body In It" is a heavy Disco cut with a proto-boogie feel thanks to the cracking synth bass that drives the track all the way through. Drawing the contrast to later Boogie tracks was the big disco strings that soar throughout and create a perfect juxtaposition with the aforementionedsynth-bassline. I am so feeling 1979 right now!
"Put Your Body In It" was written and produced by the solid team of Reggie Lucas and James Mtume. The duo was responsible for many choice cuts released between the years 1977 - 1982.
This great upbeat boogie track by Charlie Singleton & Stargasm was released by Dakar Records in 1981. It was the act's only release. Singleton sang some vocals for Cameo in the same period and played some fusion guitar in other groups. The mix of a repetitive falsetto vocal line, jangly guitar, funky slap bass, and cheesy synth stabs make this a great tune worthy of rocking a Beat Electric dancefloor.
Beat Electric was asked to create a special mix for the Manchester UK blog Ugly Talented and here it is. It is a collection of tunes that have a synthy disco sound and a post disco, boogie feel. Trademarks of this sound are live drums, analogue synthesizers and funky bass lines. The mix follows a continuum of influence and contrasting styles of the music that gets us excited at Beat Electric.
Demis Roussos - I Dig You (7") 1977 Stargard - Wear It Out (Instrumental) 1979 Alphonse Mouzon - I'm Glad That You're Here (Disconet Remix) 1981 One On One - Body Music (Long Version) 1981 Tempest Trio - Do You Like The Way That It Feels (12") 1979 Stephanie Mills - Put Your Body In It (12") 1979 Yvonne Gage - Garden Of Eve (Long Version) 1981 Loose Joints - Is It All Over My Face? (Female Vocal) 1980 Janice Christie - One Love (12") 1985 Funk Deluxe - This Time (Dub Version) 1984 Legacy - Word Up (Instrumental) 1982 Cashmere - Do It Anyway You Wanna (Instrumental) First Love - It's A Mystery To Me (12") 1982
I recently returned to my hometown of Milwaukee, WI on a brief weekender and the only redeeming moment I had in that wasteland of a city was digging for gold at the oasis known as Lotus Land Records. I purchased a couple pieces of local heat from an era in Milwaukee history that I only imagine may have been more livable than the scene out of Mad Max Beyond Thunderdome that I saw last month.
From 1984 we bring you saxophonist James Dallas and his self released jazz fusion LP "Here and Now". James Dallas has been performing in Milwaukee for many, many years and still plays out with the Terry Sims band (Terry performs on this LP as well). But the real star of the show is the all but unknown guest, Adam Davis who wrote and performed vocals and synth's on the only boogie oriented cut entitled "Highway Lover".
"Highway Lover" is a stellar Boogie/Funk/Black Rock piece with a crazy fusion solo thrown in at the end to keep the track semi in line with the rest of the record. A crusty keyboard hook, raw as hell drums, dusted production and Prince influenced vocals make this one a total classic.
Totally uninteresting nerd fact: On just about all of the tracks on "Here and Now" they used two of my favorite synthesizers, the Juno 60 and Moog Liberation keytar. Both keyboards were discontinued from production in 1984 the same year the record was released. Is it a coincidence that everything started to go downhill after '84?
If you feel this joint like I do, grab a copy from Lotus Land as they have a very small grip of these left.
This is a private label lazer soul jam from Florida. Larry Davis produced this record in 1986 along with some Miami booty bass hits in the mid to late 80's. It is in the vein of the acts Expose', The Jets, and Starpoint. It is a cute and crusty jam. This is definitely a tune that requires some skills on the dance floor. It is interesting to note that this is probably the loudest 12" I have ever heard and it is also the thinnest. The run out goove says "Hi Larry, I think you + Jaqui made it!" They sure did! Jaqui & The Rumor - Just Don't Break-A-My Heart (Inst.)
Today I’m posting not only perhaps my favorite new wave italo track of all time, but also a couple of exclusive tracks from my current favorite modern disco producers out of San Francisco, BeatElectric’s hometown. By posting new and old I was intending on showing some sort of lineage of influence, that sort of thing, whether I pulled it off I don’t know. It doesn’t really matter as I love everything I’m putting up.
There is some nepotism happening here, as Marbeya are my long time good friends and former studio mates, we have even worked together in the past and when I can get them out of the recording studio sometimes even socialize now and again, which is rare. I think Marbeya fall squarely within the new ‘San Francisco sound’, alongside peers such as Windsurf, Hatchback etc, all great acts and great guys. I would describe the genre as mellow, textured, electronic disco, with strong links to the big name Scandinavian producers (and labels). Marbeya uses long subtle arrangements, but with real melody and great sense of space. I chose my two favorites from their new promo album, my inspiration being that they were the most dance floor friendly and hypnotic, and being low brow these are the two qualities I look for most in music, be it for a wedding reception or funeral:
Ok, now for the classic, B. Blasé’s Shake It Now. This is an abstract, dark groover with what is unusual in my opinion within italo of the time, a killer male vocal. I don’t ever bother with the instrumental on this one and if you are a DJ..please..play this one at +4 or +5 or whatever your method of play considers ‘fast’. I was tempted just to pitch it up myself after I recorded it, but that goes against our ethos:
My main man Black Shag has dropped several of his top ten boogie joints in the last couple of weeks so I feel motivated to throw a few entries into the fire as well. Whilst Mr. Shag has been focusing on his country of origin, the United Kingdom, my next few entries will feature heat from my hometown of Milwaukee, WI as well as my adopted home, the San Francisco Bay Area.
Hailing from across the bay in Oakland, CA Carol Shinnette cut her first 7" in 1984 on the private Zilko label. Backed up by the aptly named Concrete Band, "Cyanide Love" was recorded at Beggars Banquet Recording Studio in Santa Rosa, CA. Co-written with Shinnette and produced by the mysterious W.P. Guidry, "Cyanide Love" is a mammoth cut and an easy contender for my personal boogie top ten list.
Shinnette went on to release a rare modern soul LP (The Expressions of Carol Shinnette) and a handful of 45's on the obscure Optune label out of Oakland in 1985. Optune also went on to repress a very small run of "Cyanide Love" picture sleeve seven inches in 1986.
I tried calling the phone number on this picture sleeve and a serious thug answered the line. Sadly, he didn't seem too interested in discussing Carol Shinnette or Optune Records but he did manage to throw a few idle threats my way.
I don't know much about Lex. This release is one of two that came out on Flip Records, a UK subsidiary of Vanguard Records. This record, along with the other (Endgames) were both produced by New York DJ legend Ray 'Pinky' Velazquez. Ray Velazquez was born in Puerto Rico, but grew up in New York. He was a major force in the mid 70's as a DJ for WCCR, NYC's City College Radio and at the Court Street Discotheque. He later became the head of A&R at Vanguard Records and produced a lot of the label's best tracks. This track has a great leftfield meets italo sound. The dubby drums and minimal instrumentation meet smashing glass for a thought provoking juxtaposition.
In my continuing exploration of what are in my opinion the UK's best dancefloor heavey boogie tracks I now present to you one of the rarest and most sought after, Mighty 7's 'Call Me' .
I'm not sure why this record doesn't turn up more often, as it was released on EMI, a major label, but I think the story goes that it came out as a limited promo. It was written and produced by Gee Bello, seen above on the right with Nat Augustin, who is an important figure in the UK jazz funk scene and member of still performing act Light Of The World. Mighty 7 was a studio project that he worked on after Light Of The World were on a hiatus.
I don't think it gets any more tasteful than this.
"I have been a professional singer since 1974, my first singing group I joined after singing gospel all my life, was called "THE FATBACK BAND". Our first album was called Rasing hell, and the hit single off of that LP, was called "BUS STOP". I sang with Fatback for over three years, touring with such groups as "Chaka khan", "Frankie Beverly and Maze". "Crown Heights Affair", and "Tedddy Pendergrass". We traveled all over the world. After completing several albums with them, the last LP we recorded with the late great "Phyllis Hyman". In 1977, I signed with a company called Red Greg Records, and we worked with the great Producer Patrick Adams. We recorded several hit records at that time. UNIVERSAL ROBOT BAND was created along with BUMBLEE UNLIMITED, which lead to several hits such as, "DANCE AND SHAKE YOUR TAMBORINE", and "LOVE BUG". Most of the songs recorded were disco hits, and were played at The Paradise Gargage, and Studio 54. While recording with different groups, the company signed me with an Exclusive Recording contract, and my first solo album was created. It was called "MAKE IT LAST FOREVER", traveling from one side of the country to the other, the hit single "It ain't no big thing" was making a huge buzz. While the album was being played all over the country, and other countries such as Japan, England and France. "Love Bug" was up for a Grammy Award, and I was fortunate enough to do the Dick Clark New Years Eve show twice. After my contract was up, I signed under Obago Records, where we recorded "YOU SHOULD HAVE TOLD ME", written by Phillip Thomas from CROWN HEIGHTS AFFAIRS ..."
"You Should Have Told Me" is a rare 12" released in 1979 on the very obscure Obago Label out of NYC. With a haunting mix by Ron St. Germain (who later went to work with 80's alternative rock bands the Cure and Sonic Youth amongst others) I would consider this track to be a very early example of boogie as we came to know it. The B Side "Disco Mix" relies heavily on the trippy vocals, funky keyboard lines and syncopated groove. Donna still performs to this day and you can check out her myspace page here. Donna McGhee - You Should Have Told Me (Disco Mix)
Gonzalez was a British funk group that got together in 1971. The group had as many as 31 members. They became a disco sensation in the late 70's and became immensely successful with the ultra cheesy tune I Haven't Stopped Dancing Yet. After the disco record bonfire of 1979, the group's popularity waned and they got dumped from Capitol Records. This track, which came out in 1982, was Tooti Frooti Records' only release. The boogie feel on this Raul Dance Mix is such a departure from their other records; and it jams.
Z-Factor was one of the many aliases of Chicago House producer Vince Lawrence. With a songwriting credit and production by the legendary Jesse Saunders as well as Risque Rhythm Team's N. Mitchbal, "I am The D.J." saw several pressings and remixes all released on Mitchbal's eponymous Chicago based record label. Featured here is the Dub Mix of the The Remix of the Remix if that is not at all too confusing. Ripped from a very worn copy, it is rather difficult to find this 12" in good condition as the majority of these singles were undoubtedly DJ copies and played to death in the clubs and house parties until they found a new status as drink coasters and pizza trays. Z-Factor - I Am The DJ Remix of The Remix (Dub Mix)
I am not one for dancing in the streets (I am probably more likely to dance in the sheets) but this track evokes the type of energy that would force even the most sedentary mope out the front door. This track from 1979 by Machine was produced by King Creole And The Coconuts member August Darnell. There is a playful exchange of vocal parts and a gospel feel mixed with Disco stomp and soul swagger that lights up the dance floor. I am sure a lot of the crowd can identify with the lyrics as well.
The best dancefloor friendly underground boogie tune is T. J. Johnson Band's 'I Can Make It (Good For You)'
I suppose we may as well shut down the blog now right? I'm disabling the 'post a comment' option as there is no point discussing it, its just fact. There are 9 places left open in the top 10 after this track that you can fight over.
T. J. Johnson is a British guitar player of Caribbean descent. He had a couple of domestic club hits in the early eighties, first with 'Pretty Lady' and then with 'Dragonfly', an incredible instrumental piece that lives on the flip of 'I Can Make It' (both of which I'am posting).
He still plays locally on the UK scene and put a new CD out last year, read a rare interview with him here:
Playing these tracks out in the USA is a real pleasure, the quality is so high they sound like they could have been a major label smash, yet the style is slightly removed from the standard American R'n'B top 40 formula of the time, boogie heads on this side of the Atlantic are left scratching their heads as they peer a look at the turntables then run home to eBay.
I might not be cool enough to know but I think in the '60s "hep" meant "hip" which meant you were attuned to the latest and greatest ideas, culture and music (It just wouldn't seem right if it referred to Hepatitus). This tune squeaked out on Magic City in the end of that decade, '69 to be specific, and speaks of a "squeeze" (maybe a person or a party?) which is hep. The term "Magic City" has been used for many a city but in this case they are referring to the once magical land of Detroit, then at the end of the Motown success. I wasn't able to find too much information specifically on Mad Dog but I can say: screaming can often be a bad thing but the wailing vocals through nice old preamps pressed onto a 45 rpm record tickle me just right.
Linx was a band from East London, so if you don't like these tracks, just blame Black Shag. The band centered around vocalist and producer David Grant. It was released in 1981. There are a couple of things that I like about this 12". First off, it has one of the best picture sleeves I have ever seen. "Sketch," the bass player is seen here fully loaded with steaze; his de-fretted vintage J bass has such a long neck it stretches into the second frame. Another great feature built into the cover is that if you play Throw Away The Key and look at the cover at exactly 4:15, you instantly feel like you are in on the scene.
These tracks feature ultra slick production and great organic modern soul flavor. The bass sound is tops and mates well with the funky guitar and dramatic drums. Linx - Throw Away The Key Linx - The Ice Is Melting
My brain is numb from a 2 year obsession with this particular US presidential race (and the ensuing party that took place last nite) so I am not capable of writing very much today. A good majority of our readers are from overseas, so I must tell all of you we are making amends and I hope we can be friends again.
This synth-boogie track from Twin Image was released in 1984 on Capitol records. It's got a nice sort of black new wave vibe to it. Dig it. Twin Image - My Baby Loves Me (Do Do)
Get on up, and give yourself a thrill. The economy sucks, but you can dance all night if you want to. Hamilton Bohannon was born in Georgia. After playing drums in Stevie Wonder's touring band, he moved to Detroit where he became a band leader and arranger for Motown Records through the late 60's to early 70's. Bohannon became a major force in disco music when he started producing tracks under his own name in the mid 70's.
This track is like a 6 and a half minute build up. The disco stomp meets a B3 and a nasty bass synth while Carolyn Crawford instructs you to move your feet. What I really like about this track is that there is a lot hidden in the mix that gives a solid, recession proof party vibe.
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