Bedroom Disco

'Professor' Eddy - Bedroom Disco | LINK TWO

After the great response to "Starlight Disco," Professor Eddy is back with another stellar mix.. True to the title, goes from the hard, hot and heavy to the slow and sensual. To think that I had damn near forgotten all about Donna Summer's amazing version of "Je t'aime... moi non plus" (it's edited here, but the full original version is available on the "Thank God It's Friday" 2 CD soundtrack)..

Eddy also has a new internet radio show entitled "Soul Searching," which you can find at Laid Back. Also at Laid Back, check out his excellent "Slow Disco, Vol. 2" mix..

Le Pamplemousse – Back Street City Lights (1979)

Stacy Lattisaw – Don’t You Want To Feel It (1980)

Herbie Mann – Jisco Dazz (1978)

Mac Davis – I’m Just In Love (1976)

Marvin Gaye – Funk Me (1979)

The Salsoul Invention – Nice And Slow (1979)

John Gibbs with the Jam Band – J’Ouvert (1979)

Risco Connection with Lorna Brooks – I’m Caught Up (1980)

Silver Convention – Spend The Night With Me (1978)

MFSB – Sexy (1975)

Asphalt Jungle – Freakin’ Time Pt.1 (1979)

Sarr Band – Magic Mandrake (1978)

Johnny Bristol – Love No Longer Has A Hold On Me (12”) (1980)

The O’Jays – Let Life Flow (1976)

Teddy Pendergrass – Come Go With Me (1979)

Donna Summer – Je T’Aime (Moi Non Plus) (Eddy’s Interrupted Edit) (1978)

PREVIOUS RELATED ENTRIES:
STARLIGHT DISCO (THURSDAY MARCH 13, 2008)

LINKS:
LAID BACK SHOW - PROFESSOR EDDY: SLOW DISCO, VOL. 1
LAID BACK SHOW - PROFESSOR EDDY: SLOW DISCO, VOL. 2

CATEGORIES: SIDE DELIVERIES

Linda Clifford interview tonight on Strictly Confidential Radio

This'll be a quick one, but I just got this in my Inbox and thought I'd pass this on.. One of the great disco divas, Linda Clifford will be live tonight on Peter Godbold's internet show, Strictly Confidential Radio at 9pm EDT/6pm PDT. This will be a call in show, so they'll have their toll free number ready for those who want to speak with the lady herself. I had a fun chat on Strictly Confidential with Peter back in January, and I'll definitely be tuning in for this..

To listen, or join in their chat room, go to the Strictly Confidential website and follow the links on the left..

For those who can't tune in tonight, the show will be available later as a podcast..

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY ON STRICTLY CONFIDENTIAL RADIO (MONDAY JANUARY 21, 2008)
DISCO DELIVERY #10: LINDA CLIFFORD - IF MY FRIENDS COULD SEE ME NOW (1978, CURTOM/WARNER BROS.) (FRIDAY MARCH 10, 2006)

LINKS:
LINDA CLIFFORD OFFICIAL WEBSITE
LINDA CLIFFORD OFFICIAL MYSPACE
LINDA CLIFFORD @ DISCOMUSEUM
STRICTLY CONFIDENTIAL RADIO @ THE HEAD-ON RADIO NETWORK

CATEGORIES: INTERVIEWS, DISCO NEWS

Róisín Murphy and some other newer shit that gets me all excited..

For some reason, in the last little while, I've felt the urge to immerse myself in some of the pop music that I've completely missed out on lately, so these things are most likely well covered elsewhere, but given the disco influence in some of these songs, I suppose it'll still fit in with the format of things on here.. Note: this was the post that I was actually intending to put up in place of the last one.

First off, I can't help but feel extremely excited about a lot of the great music that has come out recently. Despite (or perhaps because of) the fact that the industry seems to be recovering from the onslaught of file sharing, I don't think music has been this exciting in quite a while. Although I have to admit a certain fondness for the Cher-popularized Metro-produced/Thunderpuss remixed (okay, not so much the Thunderpuss part) dance resurgence of the late 90's, 8-10 years ago, with the prevalence of boardroom pop music - the onslaught of boy-bands, Britney and assorted clones thereof, I definitely don't remember things being nearly as interesting... Personally speaking, this really doesn't have anything much to do with chart positions, commercial music TV/radio (which I had completely given up on at least 8-9 years ago) or big record labels, but with how much the internet has evolved in only the last little while (call it the effect of Web 2.0 maybe?) as a means of disseminatng music and information and the levelling effect that it seems to have. Not so much with file sharing alone, but with blogs, message boards, and the evolution of other websites like Discogs and Myspace, YouTube etc.., it seems easier than ever to hear and find out about music and artists that I would have never gotten to hear on commercial radio or any other traditional outlet. The biggest manifestation of that, for me at least, has been in exploring disco music/artists. Even if the 'net weren't around, I would still most likely be looking for disco at used record shops, however I doubt that the exploration (and the appreciation) of it would be nearly as interesting and enjoyable.

I guess much of this comes down to the fact that, for the first time, on a more personal level, even without listening to commercial radio, subscribing to any popular magazines or watching cable TV, it feels like there's more music out there that I'm interested to hear than I can actually really listen to or at least really take in like I once did.. If someone would have told me ten/eleven years ago when I first logged on to the good old interweb that years later some of the latest musical acts would be signed on the strength of a social networking site, I would have had a hard time imagining it. With that said, I wonder what people will say ten or twenty years from now at the music of today, the industry and the effect of technology and all of the changes taking place.. For me, at least, the web has definitely become the new radio..

Anyway, while these things have been covered many times earlier and elsewhere, I figure this would be a good post for this, lest anyone think this blog and my appreciation of disco is my way of completely rejecting anything new and contemporary, musically speaking.

Enough about that though, on to the music..

I can't say that I'm familiar with a great deal of Moloko's records, nor of Róisín Murphy's first solo album, but lately, having spent the last few months luxuriating in her latest album "Overpowered" (2007, EMI), her boldest bid for pop stardom thus far, I don't think there's a pop singer out there today (sorry Kylie, sorry Madonna) who has the incredible sense of style - physically and musically, and who conveys as much personality as she does. Quite honestly, the last time an artist has captured me with their style and music in this way was some nine or ten years ago when I'd discovered Grace Jones (which is another post, for another time). Not surprisingly, Róisín's a fan, too.. Although chart-wise the results have been somewhat modest by pop standards, they've managed to crank out three singles (with a fourth on the way). At the very least, reading the reviews and reactions to her album, appearances and concerts, she certainly seems to have built up an even stronger image and following as the penultimate fashion-forward pop star of the day. As far as the disco connection goes, Róisín herself has said in the album's press release and in an interview with Anthem Magazine (among other places) that much of the album was based around disco influences, and nowhere is that as prevalent as on one of my favourite tracks on the album, "Let Me Know," produced by Groove Armada's Andy Cato.



Definitely my favourite video of hers. The greasy spoon-turned-disco, the outfit, the whimsical dancing and oblivious patrons - love the colours and thematic contrast.. At first listen, the chord progressions stuck out like a sore thumb, not quite a sample, but obviously based on something that I couldn't quite put my finger on. My first thought was of some early 80's Leroy Burgess boogie track (like Fonda Rae's "Over Like A Fat Rat", maybe), but it appears the closest similarity is to the chords of Tracy Weber's Larry Levan mixed disco hit, "Sure Shot" (which, it seems, goes uncredited on the album). Someone posted a side-by-side comparison on YouTube, which it appears was just recently taken down..

More Róisín fabulosity: "Overpowered" and her latest - "You Know Me Better"



For some reason, her more avant-garde solo debut, "Ruby Blue" (2005, Echo) was released in North America, but unfortunately this one hasn't so far. If EMI can give Kylie Minogue a US release, surely they can put something behind this..



I'm not a vegan PETA supporter or anything, but I think the video for Moby's latest single, "Disco Lies" is pretty hilarious and clever, albeit in a bloody and twisted sort of way, that is.. Throw in some disco references, and I'm completely hooked..



Two different videos of the latest single, "Black & Gold" from the Australian-born LA-based singer Sam Sparro, currently riding high (#2 as of this writing) on the UK Charts. Easy on the ears and the eyes - the next gay pop star, perhaps? Definitely looking forward to this album..



If you haven't caught this on Pop Justice or Joe.My.God or anywhere else, "Longing For Lullabies," the latest single from Andreas Kleerup (who did Robyn's UK #1 last year, "With Every Heartbeat") is yet another one that I've been obsessed with lately. I must have had it on repeat all night after seeing it on Joe.My.God. Featuring Neneh Cherry's underrated (at least on these shores) sister, Titiyo. Her last album "Come Along" (2002, Lava/Atlantic) had a US release, which I was surprised to find at an HMV here several years back. I remember enjoying that album quite a bit at the time (note to self: must look for that CD). Leave it to the Swedes to create something this achingly simple and beautiful... Here is the video along with an unplugged live TV performance, which someone had recently posted.



Must also give a hat-tip to Terry Miller of T.M.L. for introducing me to the neo-disco greatness that is Escort as well as the sweet and wonderful Sally Shapiro. Her album, "Disco Romance" (2007, Paper Bag) is/was one of my winter soundtracks this year and definitely among my favourite releases of 2007..

For those who are interested, Terry recently put together an excellent two part disco mix for cosmicdisco.co.uk.. Click over there and take a listen!

LINKS:
ROISIN MURPHY FAN BLOG
MOBY @ MYSPACE
SAM SPARRO @ MYSPACE
SALLY SHAPIRO @ MYSPACE
PITCHFORK FORKCAST - KLEERUP (FEAT. TITIYO) - LONGING FOR LULLABIES

CATEGORIES: NUDISCO, VISUAL DISCO

An update..

This is a bit overdue, but I have to apologize to the readers/listeners out there for my latest absence in posting. Admittedly, I'm far from the most regular blog poster out there, but I've had a month to take a little break from the disco to catch up and take stock of some of the other things going on in my life which badly needed some attention. Before I turn into a drama queen here, I'll spare everyone the personal details. Just to explain things, back when I had started this blog, life was quite a bit different for me. I was going to school on somewhat of a full time basis, between jobs, living with the parents deep in the Calgary suburbs - there wasn't a lot around, except the abundance (at least compared to now) of spare time on my hands. All of those things had changed quite drastically towards the end of that year (2006), and I'm quite honestly surprised that I've kept this thing going for as long as I have. I'd still like to continue this blog, but for those who haven't gauged the pattern, the frequency of my postings tend to ebb and flow more than most. By that I mean, irregular and slow in such a way that seems incompatible with the very nature of blogging. It seems, despite what I've been constantly telling myself and hoping for, I just don't see my commitment to this blog changing anywhere back to what it once was. I'm starting to wonder whether I can or should keep doing this all by myself.

While there are people who keep their blogs and websites active with much more going on in their lives, with my own all-or-nothing, control-freakish nature, there are times when keeping this active is more of a challenge than it should be. Not trying to fish for compliments here, I've had many wonderful people give me some very kind words over the past two years, but being completely honest with myself, I've never really been a good or original writer, my technical proficiency in music is limited at best (the things that I once learned in Preliminary Rudiments have long since gone out the window) and as much as I love Disco music, it's getting harder to find original things to say and ways to say it. I've tried to do the best that I could with what I do have, but it's just getting harder for me to hold myself to certain standards.

So point being, even if I don't see myself doing this indefinitely, I'm not closing or quitting the blog just now, there are still things that I still wish to write about, but if anyone wishes to contribute to the blog, any reviews, essays, perspectives, etc.. feel free to drop me an email at the address on the left (see the suggestions link). Eventually, I'd like to somehow pass this blog project on to a group, or even just one other like-minded disco fan(s) who will keep things active on here, and hopefully compensate for my own inactivity.

- T.

CATEGORIES: MISCELLANEOUS

Disco Delivery #54: Willie Hutch - Midnight Dancer (1979, Whitfield/Warner Bros.)

Willie Hutch - Disco Thang
Willie Hutch - Midnight Dancer
Willie Hutch - Kelly Green
Willie Hutch - Never Let You Be Without Love
Willie Hutch - Everyday Love
Willie Hutch - Deep In Your Love
Willie Hutch - Everybody Needs Money
Willie Hutch - Down Here On Disco Street
❚
A gifted songwriter, guitar player and a great singer as well, the late Willie Hutch was, in my opinion, one of the greatest talents at post-Detroit Motown. Not counting all the albums he has released, songs he had written and produced; his classic scores for blaxploitation flicks like "The Mack" and "Foxy Brown" have, alone, ensured his legacy with old and new generations alike. Much like Norman Whitfield, albeit without the same sort of grandiose style, Willie Hutch's work had a gritty elegance that seemed to stand out in the Motown pack.. Combining blistering funk, with a wonderful melodic sensibility and a warm, passionate, soulful touch, his style was unmistakable.

I had first discovered Willie Hutch some seven years back, while skipping class one Friday afternoon. Heading straight for the HMV, I'd picked up a cheap VHS copy of "Foxy Brown," just for the hell of it.. Between Pam Grier, Willie's soundtrack, the pimps, prostitutes, drug pushers, gratuitous titillation and clumsy fight scenes, I don't think I could have asked for a better introduction to the wierd, wonderful world of Blaxploitation. Having loved not only the movie but Willie Hutch's awesome score, I had gone from there and picked up a copy of "The Very Best of Willie Hutch" (1998, Motown) shortly after. Between the Foxy Brown Theme and his brilliant covers of "Stormy Weather" and "The Way We Were," along with hard hitters like "In & Out," I'd become a fan from then on..

Although certainly not among the first names that comes to mind when one thinks of disco, one would be hard-pressed to argue with the influence of danceable funk like "Slick," "Brothers Gonna Work It Out," and "Get Ready For The Get Down" on the genre. Although like many of his contemporaries, he'd seem to have a harder time getting noticed during the disco era, he nonetheless continued to make some strong records during this time. After his last LP for Motown, "Havin' A House Party" (1977, Motown), he'd make the jump to super-producer and former Motown colleague, Norman Whitfield's own Warner-affiliated Whitfield label for a couple of albums. His first album for Whitfield "In Tune" (1978, Whitfield), was produced largely by both Whitfield and Hutch, apparently being the first of Hutch's LPs to credit an outside producer. Although he hadn't garnered any big hits on Whitfield, I'd consider the two albums for the label to be excellent records. Contrary to what I had expected, this particular album, "Midnight Dancer," his second and final for Whitfield was written and produced entirely by Hutch himself. I'm not sure if it's the only Whitfield LP release to not have Norman involved as producer in some capacity, but it has to be one of the few.

Despite some of the disco overtures in the artwork and songs, the material on this record actually seems closer to his righteously soulful, well established style than the previous album for Whitfield. For me though, the first two tracks are probably the most sonically stunning. "Disco Thang" with it's opening combination of strutting bass riding the top along with Wah-Wah Watson's lush guitar work and swelling strings (arranged by Gene Page) makes a perfect opener. Rooted in funk, driven by a heavy, greasy bassline and a stunning horn arrangement; it's probably the anthesis of the main disco trend of the time of higher energy and higher tempos, but whatever it's disco credentials, it's a nice six minute piece of luxurious dancable funk..

The title tune and second track, "Midnight Dancer," one of my favourites on the album, definitely takes the cake for sheer sonic awesomeness.. If it weren't for the credits, I would have sworn Norman Whitfield had a major hand in this. While Norman's name is largely absent from the official credits (aside from a general thank you for 'creative input'), Willie definitely seemed to take a few cues from Whitfield's style, especially with those killer, space-trippin' sci-fi synth stabs (used to great effect when paired with those swirling, swelling strings).

Although Hutch also seemed to try a little of Whitfield's 'mama said, papa said' storytelling style in the lyrics, for all of his talents, he just didn't seem to have quite the same knack for it (at least if this song is any indication). For example, around the four minute mark, ostensibly, we're led to believe this is a song about a young man who "learns all about groove that he can" and grows up to become the "Midnight Dancer," spreading his "boogie, boogie" all over the land. Then the break comes in, which is awesome by the way - synth-stabs front and centre; lyrically speaking however, it all falls apart when our Midnight Dancer decides to go into funk preacher mode:

"In the beginning, the Creator gave song and dance, he gave the heart, the horn and the drums.."

"And the thundering of the drums motivated the spirits of all men women and children"

So far, so good.

"And now with song, we bring you the drums of the midnight dancer, to release the energy of your soul."

Which evidently translates as..

"and I mean Dance! Dance! Dance!"

And if anyone didn't get that:

"and I mean.... SHAKE YOUR DONKEY!!!"

I've never heard anyone tell me or anyone else to shake their 'donkey' before, much less make it a clarion call. Anyway, I suppose that's one donkey that has long since rode off the lexicon..

If the title track was lyrically awkward, he more than redeems himself however with three of the tracks which lie at the heart of this album. "Kelly Green," "Never Let You Be Without Love" at the end of Side One and "Deep In Your Love" on Side Two are three songs which have some of the most genuine, heartfelt lyrics and performances on the album. While those averse to love ballads might remain unmoved, the lyrics of these songs (which thankfully avoid much of the maudlin cliche's of the genre) epitomize the sort of uncompromising poetic, sentimental beauty that I've always associated with some of the finest classic R&B balladry. With wonderful melodies, genuine and unpretentious lyrics sung soulfully and passionately, all the while complimented with Gene Page's arrangements and Wah-Wah Watson's unmistakably luxurious guitar work, these songs have to be among some of Willie Hutch's most underrated work.

Towards the end of the album, things go back into more uptempo material, first with "Everybody Needs Money," a little piece of funkdified social commentary. To quote one verse: "...some say that money's the root of all evil, but I.. disagree with that..," he later goes on to lament the price of gas, rising cost of living etc... My, how times have changed..

The album closer, "Down Here On Disco Street" quite appropriately makes the most bold overture to disco on the album. Opening with a deep, delicious bass, much like the title implies, as a funky disco ode to the escapism of the disco scene, it carries on with a nice groove that goes full circle with the album opener.

One of Willie Hutch's lesser known albums, "Midnight Dancer" probably doesn't top some of his Motown work, particularly excellent albums like "Mark Of The Beast" (1974, Motown) or any of his soundtracks for example, but it nevertheless remains a solid, enjoyable album in it's own right. While it's not typical of the straight-ahead, higher energy disco that was popular in 1979, nor of much of the disco that I've covered here in the past, it nonetheless stands up well, both as a solid, enjoyable album as well as an example of the more funk oriented disco that probably didn't get as much attention in the genre's waning years.

After his stint at Whitfield, Hutch would go on to write one of Gwen McCrae's most enduring dance hits, "Keep The Fire Burning." Around the same time in 1982, he would also have his biggest club hit with "In & Out", a single which gave him a second coming of sorts at Motown, where he would end producing for acts like The Four Tops, Junior Walker and Carrie McDowell (see "Uh Uh, No No Casual Sex"). Although he wasn't quite as prolific the second time around, he would contribute a couple of songs to "Berry Gordy's The Last Dragon" as well as release one last album for the label "Making A Game Out Of Love" (1985, Motown). Sadly, Hutch passed away at the age of 60 in September 2005, he had continued making and releasing new music right up until his later years, his last album being "Sexalicious" (GGIT) in 2002, released on his own independent label.. From The Jackson 5's "I'll Be There" and "Brothers Gonna Work It Out" to later hits like Gwen McCrae's "Keep The Fire Burning," and his own "In & Out" and "The Glow" he had undoubtedly left behind a stunning, enduring musical legacy.

In 1998, evidently to promote his then recently released best-of CD, The Dallas Observer did an excellent article on him, entitled "He'll Be There," which is thankfully still available online in it's entirety. Well worth reading for a look into the man's life and music. Shortly before his death, he also recorded an interview along with some live performances which have been put on to a DVD entitled "The Willie Hutch Story," released by the Expansion label in the UK, which I'm certainly curious to see ..

LINKS:
WILLIE HUTCH - MIDNIGHT DANCER LP @ DISCOGS
WILLIE HUTCH - MIDNIGHT DANCER LP @ DISCOMUSIC.COM
WILLIE HUTCH @ ALL MUSIC GUIDE
SOULWALKING - WILLIE HUTCH PAGE
THE GUARDIAN - OBITUARY: WILLIE HUTCH (BY GARTH CARTWRIGHT) (TUESDAY OCTOBER 4, 2005)
EURWEB - WE REMEMBER SOUL SINGER WILLIE HUTCH (SEPTEMBER 21, 2005)
THE DALLAS OBSERVER - HE'LL BE THERE (BY ROBERT WILONSKY) (OCTOBER 29, 1998)

CATEGORIES: DISCO DELIVERIES, IN MEMORIAM..

Disco Desecration

Somewhere out there Paul Jabara and Miss Izora are turning in their graves..



Update: More details on the McCain Girls' apparent hoax @ Joe.My.God

CATEGORIES: VISUAL DISCO

Starlight Disco

'Professor' Eddy - Starlight Disco | LINK TWO

I was aiming to get another Disco Delivery up, but obviously, I'm a little behind schedule here.. Anyway, I'm working on getting one up soon, but in the mean time I have a excellent mix by 'Professor' Eddy Kielema that he sent over to me. Going from slow and sleazy to dirty, spacey electronics; I enjoyed it so much, I couldn't not put it up. This the very first guest mix on Disco Delivery, so I hope you all enjoy..

Here's the tracklist/overview written by Eddy himself. To hear another one of his mixes, go here..

Captain Mustard – Quiet Move (12”) (1981)

I don’t know anything about Captain Mustard. I think they are from France, but I’m not sure. They sound like a disco version of the French easy listening band Air (‘All I need’). This is the b-side of their single ‘Funky Burger’.

Saint Tropez – Belle De Jour (1978)

Saint Tropez are Michael Lewis and Laurin Rinder (El Coco, Rinder & Lewis). I bought their single ‘Femme fatale’ in the eighties and I recently discovered this one. It’s from the same titled album. Their sound is heavily influenced by French bad boy Serge Gainsbourg.

Clara Mondshine – Die Dragentrommler (‘Dragon drummers’) (Pilooski Edit) (2007)

Clara Mondshine is an alias for German musician Walter Bachauer. This is originally from the album ‘Luna Africana’ (1981) that is produced by synthesizer guru Klaus Schulze. Mondshine / Bachauer mixes African ethnic elements with electronics on this track. The edit is done by French dj-wizzard Pilooski.

Jackson 5 – The Mirrors Of My Mind (1974)

Great closing track from their 'Dancing Machine' album. Motown wasn't quite into disco at that time, but this is a pretty good effort.

Imagination – So Good, So Right (12”) (1981)

One of the first albums I bought as a young teenager was ‘In The Heat Of The Night’ (1982) from Imagination. This is from their debut album ‘Body Talk’. I love their slick, space disco sound. Their piano loops have been copied on house records many times.

Herbie Mann – Hi-Jack (1975)

Jazz flautist Herbie Mann crossed over to funk and disco in the mid seventies. This great piece of work from his album 'Discotheque, which included Cissy Houston (Whitney's mum) on background vocals.

Universal Robot Band – Making Love (1977)

Space disco from dance pioneers Greg Carmichael, Patrick Adams and Leroy Burgess. Later on the main members of the Universal Robot Band would become R&B band Kleeer. This is from their album ‘Dance And Shake Your Tambourine’ (1977). That synthesizer solo played by Patrick Adams is just magical!

John Forde – Atlantis (1978)

This is from the excellent compilation album ‘Dirty Space Disco’ by Dirty Sound System.

Mistral – Starship 109 (1978)

Mistral is a space disco project from Dutchman Robbie van Leeuwen who wrote ‘Venus’ for Shocking Blue, a number one in the US in 1970 (and for Bananarama in 1986). You can hear him play Spanish guitar on this track as well.

Felix Da Housecat – Magic Fly (2001)

Mistral sang about a lost space craft, this instrumental track is about the opposite (I think…): a magic flight in space. This is a remake of a seventies smash by a French band called Space.

The Flirts – Passion (12”) (1982)

A brilliant Bobby Orlando ‘dirty disco’ production.

Chicken Lips – He Not In (Greg Wilson edit) (2002)

Greg Wilson was a well-known disco deejay in the seventies, before he started to play electronic soul and funk in the eighties. His mixes were groundbreaking for the house scene.

Eastside Connection – You’re So Right For Me (12”) (1977)

This group was produced by Harry Scorzo and released three 12" singles and one full-length album during the late seventies which included this disco classic.

Roxy Music – Same Old Scene (Glimmers Remix) (2006)

Roxy Music started as an art rock band in the early seventies, but became more and more a funk rock band by the end of the decade. This song is originally from their Flesh + Blood album (1980).

Risqué – The Girls Are Back In Town (1982)

They are well known for their space disco classic ‘Starlight’ (it’s on the compilation album ‘Dirty Space Disco’ by Dirty Sound System). I think this one is even better. Risqué had a couple of minor hits in the Netherlands before they disappeared into a black hole.

LINKS:
LAID BACK SHOW - MIXES

CATEGORIES: SIDE DELIVERIES

Disco Delivery #53: Barbara Law - Take All Of Me (1979, Pavillion/Epic)

Don't just stand there wishin' for me.. go ahead, make your move..

Barbara Law - Take All Of Me
Barbara Law - Can You Read My Mind
Barbara Law - Love Shot
Barbara Law - Somethin's Burnin'
Barbara Law - Shake Your Bait

Several years back when I was really getting into Paul Sabu's disco productions, I had come across this album quite by chance (like most of them) at the used record shop. With Sabu being one of the main contributors to the album, that along with the sexy, inviting cover shots pretty much convinced me to buy it. Although Sabu wasn't actually credited as a producer on this one, as a guitarist and a songwriter on a couple of tracks, his stamp is all over the album. Recorded in Toronto (Manta Sound) and New York and produced by Can-Con record producer Harry Hinde, who had also produced The Raes and Susan Jacks, to name just a couple of the acts he produced on the Canadian scene, admittedly, the Canadian connection was another factor that swayed me. Interestingly, despite the Can-Con elements, they used a great deal of big American musicians on here. Aside from Paul Sabu, some of the ubiquitous names here include Maeretha Stewart (misspelled as Meritha Stewart), Yvonne Lewis and Cissy Houston with background vocals, Jimmy Maelen on percussion, one time Motown Funk Brother Bob Babbitt on bass and arrangements courtesy of yet another prominent Motown figure, David Van De Pitte.

With this being her apparent one and only album release, on the surface, Barbara Law appeared to me like yet another one-shot disco singer of her time - identity and background a complete mystery, briefly achieving some success during the disco era but otherwise fading into obscurity swiftly thereafter. However, a quick look at her IMDB profile revealed a little bit more. A Genie (one of the Canadian movie awards) nominated actress for her role in a little 1984 erotic thriller, "Bedroom Eyes," Law seems to have a respectable list of acting credits to her name, mostly in Canadian productions up to 1997. Prior to the acting and the disco however, in her native Ireland, Barbara Law, then known as Barbara Dixon was a singer in a little, albeit unfortunately named female trio - Maxi, Dick & Twink, 'Maxi' being Irene McCoubrey, 'Dick' being Barbara, and 'Twink' being Adele King (both 'Maxi' and 'Twink' have gone on to become prominent media personalities in Ireland).. Although the group seemed to have a pretty brief run of things in the late 60's/early 70's, they were reportedly one of the most popular girl groups in Ireland at the time. Their best known single would most likely be "Things You Hear About Me" (hear the song here), which placed second in the contest to represent Ireland at the 1970 Eurovision Song Contest. After briefly becoming the singer for a group called The Royal Showband, Barbara would emigrate to Canada and marry another singer, Peter Law of yet another group in the same scene, The Pacific Showband (AKA The Dublin Corporation).. There's a ton of information on the world of Irish showbands/groups that Barbara circulated in at this time, including vintage pix of the lady herself at irishshowbands.net.

Anyway, that all brings us to this album, released 1979 on DJ/disco mixer John Luongo's CBS associated Pavillion label. A rather safe, slick, largely middle-of-the-road disco affair for the most part, it's not something I'd consider to be a classic album by any stretch, but it definitely has it's good moments along with some rather dire ones, as well. For me though, the best of the bunch would have to be the title track, "Take All Of Me." A nice piece of dramatic midtempo disco, with a slightly twangy intro, hypnotic bass and infectious guitar refrain (which I'm guessing was courtesy of Sabu) complimented with some pretty, uplifting string arrangements and percussion hooks/fill-ins, it's seven minutes of sensual disco bliss. An irresistable invitation, with it's pleasant melody and sexy lyrics, it seemed perfectly suited to Barbara Law's somewhat smoky, gritty delivery. Both sexy and assertive, her voice seemed to be perfectly balanced between vulnerability and edginess, this song bringing out the best qualities in her voice, unlike many of the others on the album.. Not surprisingly, it was also the single off the album, charting on the Billboard disco charts at #31. As far as I know, the 12" and album versions are identical, mixed by John Luongo and Michael Barbiero who together had also mixed disco hits like Jackie Moore's "This Time Baby" and Dan Hartman's "Relight My Fire," among others. As far as this mix goes, among other things, I love the break which not only has some great bass and percussion, but is pretty generous on the cowbell, too..

The second track, "Can You Read My Mind" pretty much continues in the same middle-of-the-road disco direction, which is halfway pleasant, but not quite as good as the title track; her edgy vocal style feeling somewhat disconnected from the overly twee, flowery arrangements at times. After trying out a little ballad "On My Own Again," they end Side One with "I Just Live" (audio link) a complete and total mess, which is most likely the worst track on the entire album. Interestingly, it was the first of two songs on the album written by the renowned team of Freddie Perren and Dino Fekaris, the same guys who wrote The Raes' big hit "A Little Lovin' (Keeps The Doctor Away)" as well as Gloria Gaynor's "I Will Survive," no less. Unfortunately, this one's not even close to either of those. Opening with what sounds like a signature Paul Sabu guitar refrain, not surprisingly they try to turn her into a rough and ready disco-rock singer of some sort, however the lightweight production never really takes off. Granted, there's probably only so much one can do with incredibly trite lyrics like: "I just live every minute and.. I just love.. and I love to live..uh-huh and I love to luh-huh-huh-uve." However, if you do manage to get to the end of the song, Barbara's gravelly vocals end up sounding so parched by then, you'll likely find yourself either reaching straight for the needle or the nearest bag of throat lozenges.. In spite of all that though, I'll admit that the original version of this song by Demis Roussos, taken off his 1978 self-titled album (produced by Perren himself) works much better than this version.

The second Perren/Fekaris contribution on the album, "Love Shot" fares somewhat better. Catchy and with a chorus like: "love shot, gimme all you got.. make it quick, 'cause I'm real sick," it's more than just a little on the campy side. Granted, it's no "I Will Survive" either, but it's certainly a little easier on the ears than their other contribution. Just like that song however, this one's also a cover, originally performed by the actor Lawrence Hilton-Jacobs off his 1979 album "All the Way...Love" (ABC) (also produced by Perren).

The remaining three tracks on Side Two were turned over to less typical, more rock oriented disco fare for which Paul Sabu contributed two tracks - "Do It All Night," and "Shake Your Bait" (which would both end up on the soundtrack of a 1982 film, "Spring Fever"). The best of this bunch however is probably "Somethin's Burnin'." A little over-the-top to be sure, but with an arrangement that's a little heavier, yet not overly frantic, along with some special effects not altogether foreign from some Paul Sabu productions of the time, it's one that's actually grown on me. With Barbara's vocals probably best described as 'disco queen-channels-metal queen,' wailing and growling her way through the whole thing - really, what's not to love?

Ouf of the two Paul Sabu contributions that I had mentioned, the better one is probably "Shake Your Bait," which, if the title didn't give away, is cheesy as hell, but definitely one of the more obviously disco oriented tracks on the album. Written by both Sabu and Hinde, it's feels like a typical Paul Sabu track, with it's propulsive backing and rock oriented vocal delivery, and Barbara practically burning and growling her voice out, commanding everyone to 'shake their bait,' like it was an order, dammit! For the most part though, it pretty much picks up where the previous track left off, the punchy guitars and horn arrangements being probably the best parts of this track. Although the production values are lighter than a typical Sabu track, and even if he isn't actually credited as a producer, I wouldn't be surprised if Sabu had some input in the production of this one, as this likely wouldn't have been out of place on some of his own productions like the Ann-Margret or Sister Power albums he did.

Overall though, as far as the entire record is concerned, while not entirely bad, I'd still put the results somewhat on the mediocre side. One of those albums where you suspect that the only reason they went in a disco direction was because they thought that's what would sell, not so much because anyone had anything interesting to offer. That said, the title track along with the last couple of tracks are probably the only songs on the entire LP that stand out among the sort of pleasant, but ultimately bland 'corporate disco' filler that typified a good portion of the record. For what I paid though, the wonderful title track alone was worth the purchase. Certainly not something to search tirelessly for, but worth picking up for those who enjoy, say Harry Hinde's disco work with The Raes or Paul Sabu's productions.

Some Trivia: I'm not sure how many times producer Harry Hinde and Paul Sabu had collaborated prior to or after 1979, but nearly a decade later, they would end up collaborating again on some of the first recordings by a then unknown, up and coming singer from Northern Ontario named Eileen Twain. Nothing would end up happening with those recordings until years later, when Eileen Twain hit it big in the mid 90's as country-pop star Shania Twain. Since then, both Hinde and Sabu have licensed and released those recordings to various assortments of low-budget labels and under just as many titles and ending up in some requisite legal wrangling in the process..

LINKS:
BARBARA LAW - TAKE ALL OF ME LP @ DISCOGS
HARRY HINDE @ DISCOGS
PAUL SABU @ DISCOGS
THE POP CULTURE CANTINA - THE LEGEND OF PAUL SABU (APRIL 12, 2007)
MAXI, DICK & TWINK @ IRISH BEAT-GROUPS ARCHIVE
JOHN LUONGO @ DISCO-DISCO.COM
MICHAEL BARBIERO @ DISCOGS

CATEGORIES: DISCO DELIVERIES, CAN-CON DISCO

New Donna Summer album coming in May..

I know there's been a lack of updates on here lately, but I figure this was as good a time as any to update everyone on Donna Summer's record deal and upcoming album, which I had first posted about back in August '06..

Aside from the little crumbs of info that have slowly leaked out in the last year or so, firm details regarding her next album, entitled "Crayons," tentatively scheduled for a May 20th release, are finally starting to come out. Promos for one of the songs, "I'm A Fire" have already been released and are circulating among fans and DJ's. The first promo includes remixes by the likes of Craig C, RedTop and Solitaire, which aim straight for the gay clubs, and seem to be getting a positive response so far. Although the mixes by Solitaire and Craig C. are especially good; with it's sleek, sexy sound, the best version is undoubtedly the original mix, her voice sounding as powerful and vital as ever.. It's no "Love To Love You.." or "I Feel Love," or anything extraordinarily cutting-edge for that matter, but with more than a few shades of lounge/deep house, it's a gracefully sensual, uplifting dance track in it's own right. Mature enough to suit her age and not engage in any desperate trend-riding, yet still fresh enough to reintroduce her to a current audience and capture the attention of longtime fans.

For a little background, the alleged producer of this track, Sebastian Arocha Morton AKA ROCAsound was one of the first names to be associated with this project last summer (the other was collaborator Vikter Duplaix). Notably, Morton was also behind Samantha James' Billboard #1 Dance hit, "Rise," and her album of the same name. Can't help but detect elements of the deep house/'electronic soul' style in both this and the Samantha James tracks; in other words, somewhat similar to some of the Jay Denes/Naked Music releases by the likes of Aya, Blue Six etc.. and some of Jody Watley's more recent work. Although "I'm A Fire" seems to be somewhere in between that and a more mainstream style (higher tempo, more assertive vocal); the tracks from the Samantha James album (which can be heard in full on her Myspace) might give a bit of an idea of what Morton's contributions on Donna's record might sound like (that is, if there are any others).

In addition to this first promo, a second set of remixes is also being sent out. In Da Mix Worldwide has some details along with a preview of one of them, called the Soulflower Mix..

Surprisingly (or perhaps not so surprisingly) "I'm A Fire" has already been leaked to YouTube. I could easily envision an Afterlife style chill-out mix on this track. Take a listen:



Donna Summer - I'm A Fire (Sebastian's Original Mix)
Uploaded by iamafire

Despite this bring the first song to be leaked out, it must be noted apparently a different single will be serviced to radio. That first single is reportedly slated to be a song called either "Stamp" or "Stamp Your Feet," promos set to be distributed next month. Judging from the review of that song on the So, and Thus.. blog, it definitely looks like they're making an effort to aim for a more current pop audience on that particular track. Reminds me of what Burgundy did with Chaka Khan album, when they led off with a single - "Disrespectful" (feat. Mary J. Blige), that was clearly meant to appeal to a younger demographic. Anyway, I haven't heard it yet so I'll reserve judgement until I actually do.

As far as the album goes, some of the producers on the record aside from Sebastian Arocha Morton AKA ROCAsound (Jody Watley, Samantha James) reportedly include Greg Kurstin (Lily Allen, Peaches, Sophie Ellis-Bextor, Kylie Minogue - see her latest single, "Wow"), J.R. Rotem and Evan 'Kidd' Bogart (Rihanna, Sean Kingston), son of late Casablanca founder, Neil Bogart, no less. The Freemasons were also reported to be on the album earlier last year, however, it's uncertain whether anything actually came out of that.. Some of the other collaborators that have been reported so far include singer/songwriter/actor Danielle Brisebois, Toby Gad, Fergie, Kandi Burruss and hip-hop violinist Miri Ben-Ari.. Some additional collaborators and song titles reported to be on the album were also posted by a fan on the prince.org forums last November. Granted some of these are unofficially reported, so who knows if all of the collaborators will appear on the record, however the first official press on the upcoming album in Billboard (published on February 25th) and the official press release (published February 26th) confirmed some of these listed here, along with Lester Mendez (Carlos Santana, Shakira, Nelly Furtado) listed in the earlier prince.org posting.

Donna Summer Inks With Burgundy
February 25, 2008, 11:10 AM ET
Jonathan Cohen, N.Y.

Donna Summer will break a 17-year drought of studio albums with all new material thanks to a new deal with Sony BMG's Burgundy Records. Dubbed "Crayons," the project will arrive May 20.

Summer is working with a wide range of collaborators, including Danielle Brisebois, Greg Kurstin, J.R. Rotem, Lester Mendez and Evan Bogart.

"My dream is that when people hear the music it will remind them of their youth, their childhood and the joy and wonderment they felt exploring their first pack of crayons," Summer says. (read full article)

For her first original album since "Mistaken Identity" (1991, Atlantic) all of seventeen years ago, it's definitely encouraging to see her moving forward and working with some current producers and songwriters. If anything, from what I've heard so far, it's certainly preferrable (and I know I've said this already) to the dire trend of veteran artists releasing cover albums. With Burgundy having come off a successful run with their last major release, Chaka Khan's "Funk This," which peaked at #5 on the Billboard R&B charts (her highest charting album since the mid-80s), spawned a #1 Billboard club hit and two Grammy Awards last week, it seems they're gearing up to make this at least equally successful. Either way, after all the bits of new material and all the false starts in the past several years, it's definitely an exciting time to be a Donna Summer fan.

Updates:

2/20/08: The first picture of a possible album cover (now placed at top of the post) has been tracked down on the Croatian site Menart Records, which also lists six of the possible titles on the album... Credit to Cathy, the Donna Tribute webmistress and the Endless Summer Forum for the photo link..

2/25/08: Added names to list of collaborators, added links to first official press and corrected release date. The initial, widely circulated date of May 6th has been corrected to May 20th, which has been confirmed on the first two pieces of official press published in Billboard Magazine and on the website of A&R Consultants Pure Tone Music.

2/29/08: Added link to official press release. Album artwork posted on the 20th now confirmed as the official album cover via the Official Donna Summer Website - added a much clearer album image.

PREVIOUS RELATED ENTRIES:
BBC RADIO 2: CLASSIC SINGLES - I FEEL LOVE (SUNDAY DECEMBER 30, 2007)
TWIGGY DOES DISCO.. (WITH A LITTLE HELP FROM DONNA) (TUESDAY SEPTEMBER 18, 2007)
NEW DEAL FOR DONNA (THURSDAY AUGUST 3, 2006)
DONNA SUMMER - I GOT YOUR LOVE (MONDAY JANUARY 16, 2006)

DISCO DELIVERY #52: STAINLESS STEAL - CAN-CAN (1978, WARNER BROS.) (TUESDAY FEBRUARY 5, 2008)
DISCO DELIVERY #40: MUNICH MACHINE - A WHITER SHADE OF PALE (1978, CASABLANCA) (SUNDAY APRIL 29, 2007)
DISCO DELIVERY #14: SUZI LANE - OOH LA LA (1979, ELEKTRA) (SATURDAY APRIL 8, 2006)
DISCO DELIVERY #5: GIORGIO MORODER - FROM HERE TO ETERNITY (1977, OASIS/CASABLANCA) (FRIDAY FEBRUARY 3, 2006)

LINKS:
PR NEWSWIRE - OFFICIAL PRESS RELEASE (TUESDAY FEBRUARY 26, 2008)
BILLBOARD - DONNA SUMMER INKS WITH BURGUNDY (BY JONATHAN COHEN) (MONDAY FEBRUARY 25, 2008)
PURE TONE MUSIC - THE QUEEN IS BACK: DONNA SUMMER MAKES LONG-AWAITED RETURN WITH FIRST STUDIO ALBUM IN 17 YEARS! (MONDAY FEBRUARY 25, 2008)
SO, AND THUS..: STAMP YOUR FEET - DONNA SUMMER'S NEW SINGLE (FEBRUARY 17. 2008)

DONNA TRIBUTE - NEWS
DONNA SUMMER - OFFICIAL WEBSITE
DONNA SUMMER @ WIKIPEDIA
DONNA SUMMER @ BURGUNDY RECORDS
ASCAP - SONGS WRITTEN BY: SUMMER, DONNA A.
IN DA MIX WORLWIDE - DONNA SUMMER - I'M A FIRE (SOULFLOWER MIX) (WEDNESDAY FEBRUARY 20, 2007)
PRINCE.ORG FORUM - DETAILS ON DONNA SUMMER'S UPCOMING ALBUM (NOVEMBER 8, 2007)
SEBASTIAN AROCHA MORTON - ROCASOUND
SEBASTIAN AROCHA MORTON @ DISCOGS
SEBASTIAN AROCHA MORTON (ROCASOUND) @ DISCOGS (SEPARATE ENTRY)
GREG KURSTIN @ EMI MUSIC PUBLISHING
GREG KURSTIN @ DISCOGS
EVAN 'KIDD' BOGART @ WIKIPEDIA
EVAN 'KIDD' BOGART @ MYSPACE
DANIELLE BRISEBOIS @ WIKIPEDIA
DANIELLE BRISEBOIS @ MYSPACE
DANIELLE BRISEBOIS OFFICIAL SITE
TOBY GAD OFFICIAL SITE
TOBY GAD VIDEO BLOG - WEBISODE 5 FEAT. DONNA SUMMER, BC JEAN
BURGUNDY RECORDS @ WIKIPEDIA

CATEGORIES: DISCO NEWS, NUDISCO

Disco Delivery #52: Stainless Steal - Can-Can (1978, Warner Bros.)

Stainless Steal - More Than Meets The Eye
Stainless Steal - Messing With You (Is Like Messing With The Devil)
Stainless Steal - It All Comes Down To Love
Stainless Steal - Can-Can

These days, Giorgio Moroder's well deserved reputation as an innovator and pioneer in disco and in electronic music has become quite firmly established (and well-explored on a few of my previous entries). However, the contributions of his frequent right-hand man/ co-producer, (particularly with their material for Donna Summer and Roberta Kelly), Pete Bellotte seems to have been somewhat overlooked in comparison. With so much of the focus being on Moroder's innovations, often times on the albums where they're both credited as producers, it's not always clear where one's contributions ended and the other's began..

In listening to some of Bellotte's productions outside of his partnership with Moroder, the easy way to describe Bellotte's style (in relation to the Moroder/Bellotte productions) would probably be to envision a heightened emphasis on the rhythm section. While that's obviously an oversimplification, in comparison to a lot of the Moroder or Moroder/Bellotte records, the synthesized element, while still prominent, rarely seemed to go beyond sweetening or colouring on most of Bellotte's productions.. More specifically though, Bellotte's productions seemed to have a distinct emphasis and style particularly on the guitars and horns, which is especially evident on this album and is perhaps Bellotte's most obvious stylistic stamp.

Comparing the output of Moroder & Bellotte individually, I'd say Moroder's own productions were generally much more consistent and distinctive, not to mention more prolific than Bellotte's. I'd give him that distinction even just for the excellent Suzi Lane and Battlestar Galactica records he did. Bellotte's output, on the other hand, while not without it's high points, was obviously less so. Case in point, Elton John's "Victim Of Love" (1979, MCA) album, evidently Bellotte's most prominent effort as a solo producer, it would give him the dubious distinction of having produced what is likely the most discredited effort of Elton John's career. It's a record that's been so widely maligned by fans and critics alike that even the artist himself has since disowned it. Then again, to be fair, Giorgio also gave us The Sylvers' lamentable effort (or non-effort as it were) "Disco Fever" (1979, Casablanca), so I suppose it goes without saying that Moroder certainly had his share as well...

Anyway, point is - duds aside, Bellotte still managed to deliver some rather underrated work in his own right. This album in particular, evidently one of his lesser known productions has some of my favourite work of his. Produced of course by Bellotte, arranged by frequent collaborator Geoff Bastow, I'd assume some of the usual Munich Machine suspects (Keith Forsey, Gary Unwin, Thor Baldursson etc.. ) also had a hand in this, but with the back cover giving out no musican credits and little else aside from bum of an anonymous model, there's really no telling for sure.. The one name that does stand out in the brief credits is Jimmy Simpson, who mixed the entire album and is also likely responsible for a good deal of it's excellence as well. Prolific as Simpson was, this is seems to be the first (and so far the only) time I've seen his name attached to anything associated with Moroder or Bellotte or any of their circle of collaborators.

Taking up all of side one, the main attraction on the record seems to have been the bombastic 14 minute disco version of the Can-Can (AKA Jacques Offenbach's "Galop Infernal"). Straight out of the "do a disco version of anything and it'll sell" school of thought, as an idea, it's as derivative as it gets.. With it being a classical piece associated with dancing, I suppose someone would have done it eventually.. That said, as much as something like this isn't really supposed to be any good, it's redeemed quite wonderfully by some great arrangements and improvisation, which keep things exciting and engaging. Certainly no small feat with 14 minutes at one's disposal. The sections at the 3 minute and the 11 minute marks are especially nice, with the arrangements at both points putting an unmistakable 'Munich Machine' stamp on things. In some ways this reminds me somewhat of the disco remake of Handel's Messiah, AKA "Hallelujah 2000" by Hallelujah 2000, particularly at the start and the finish, so fans of that might enjoy this one as well. Granted, this track's perhaps a bit too twee and bombastic to sway any disco cynics, and while I wouldn't exactly consider it a highly inspired moment myself, it definitely comes across much better than one might expect it to..

For me though the best part of the record would have to be the three tracks on side two - all written by Bellotte & Bastow. All three are similar in their feel and tempo and are fairly minimal in their lyrics, largely consisting of the repetition of the title verse (or variaton of it) by an anonymous vocal chorus. Instrumentally speaking though, I find these to be some of the best examples of Bellotte's own sound and style. Sublime, yet lively and even whimsical at times, the distinctive synth sweetening, somewhat lighter than those on a Moroder production, along with the prominence of those signature guitar riffs (which I'm guessing are courtesy of either arranger Geoff Bastow or Mats Björklund) and horns are all over these tracks.

As far as the tracks themselves go, "More Than Meets The Eye" is the wordiest (which isn't really saying much) and perhaps the strongest of the three.. Opening with a simple, funky guitar line easing into a sublime string arrangement; with those signature guitar riffs and shooting synth stabs, it manages to makes an strong impression without the bombast of the A-side. The following track, "Messing With You (Is Like Messing With The Devil)" is probably the most synth heavy, opening with a great loopy, whimsical synth, with the delicate string arrangements pretty much taking over from there. However, the sexy, blissful break in the middle of the track, laden with strings and a sly bassline is definitely one of the highlights on here, definitely my favourite part of the track. The last selection on the album, "It All Comes Down To Love," a fun little track with it's unmistakable strut and warm keys which probably make it the most identifiable with the established Munich disco sound that he and Moroder as well as the likes of Kunze/Levay had pioneered. It has to be said here as well, that the sensual break, with the wispery vocals and lush instrumentation are to die for.

For me, one of the things that I notice about the side two tracks are how spacious and, in a way, less frantic than say, the A-side and some of Belotte's other, more well-known productions like Trax's "Watch Out For The Boogie Man!" Marsha Hunt's "The Other Side Of Midnight," and Melba Moore's "Burn" to name a few of the ones I've heard so far. Perhaps that is where Jimmy Simpson's involvement may have come in... Overall though, while all three tracks seemed to rely on repeated lyrics and hooky riffs to some degree, these three tracks are mixed and arranged well enough that there's enough interesting musical variation in them to balance out the repetition (the wonderful string-laden instrumental section in the middle of "Messing With You" to name one good example).

While this is likely the most anonymous out of all the albums Pete Bellotte produced, not to mention one which seemed to come and go without a trace (perhaps even moreso than usual), this has definitely become one of my favourite Bellotte solo productions.. When I had stumbled across this album a little while back, it honestly wasn't one that I had especially high hopes for, especially given how anonymous and unknown it was (in spite of it's well-known producer). At best, I was hoping for at least something worthwhile - one track, even. At the very least, after listening to the album I would have been able to say that I'd heard all fourteen minutes of a disco version of the Can-Can and lived to tell it... Nevertheless, all that aside, this little album pretty much exceeded my initial expectations. The fact that it was a production from a recognizable which I hadn't heard or heard of before proved to be an added bonus. I guess the most rewarding finds are often the most unexpected.

Just a little side note: While Bellotte seems to have kept a rather low profile, the BBC caught up with him for a brief update/interview in 2004 just around the time he was inducted (with Giorgio Moroder and Donna Summer) into the Dance Music Hall Of Fame (which seems to be up in the air, as of this writing). The article: "In Tune With Britain's Disco King" is the most recent interview that I've found with him so far...

PREVIOUS RELATED ENTRIES:
BBC RADIO 2: CLASSIC SINGLES - I FEEL LOVE (SATURDAY DECEMBER 30, 2007)
DISCO DELIVERY #43: WARDELL PIPER (1979, MIDSONG INTERNATIONAL) (MONDAY AUGUST 27, 2007)
DISCO DELIVERY #40: MUNICH MACHINE - A WHITER SHADE OF PALE (1978, CASABLANCA) (SUNDAY APRIL 29, 2007)
DISCO DELIVERY #14: SUZI LANE - OOH LA LA (1979, ELEKTRA) (SATURDAY APRIL 8, 2006)
DISCO DELIVERY #5: GIORGIO MORODER - FROM HERE TO ETERNITY (1977, OASIS/CASABLANCA) (FRIDAY FEBRUARY 3, 2006)

LINKS:
STAINLESS STEAL - CAN-CAN LP @ DISCOGS
PETE BELLOTTE @ DISCOGS
PETE BELLOTTE @ ALL MUSIC GUIDE
BBC NEWS: IN TUNE WITH BRITAIN'S DISCO KING (BY TOM BISHOP) (WEDNESDAY SEPTEMBER 29, 2004)

CATEGORIES: DISCO DELIVERIES, WHAT EVER HAPPENED TO..