Made this mix on the heels of the Toronto launch of my friend Christian John Wikane's new book A Night At The Disco (ACC Art Books). Christian has interviewed so many artists and producers over the years and has put them to work for this beautiful book which tells the story of disco through its artists. Packed with well-sourced images and biographical details, it's a wonderful book for the budding or even the experienced disco enthusiast.
Interesting fact - Christian is the one who got me writing liner notes during the mini-boom in CD reissues, which seemed to last from around 2010-2015. Getting to interview artists and producers and tell their stories in print is without a doubt one of the high points in my ongoing journey of music fandom and writing. Needless to say, it was a pleasure to welcome Christian to our city and to lead a discussion and Q&A about disco and about the book itself. From the bookstore (Flying Books), we headed over to my favourite hi-fi bar, The Little Jerry, where I played disco records through the night for our little after-party. When it came time to make this mix, I still had my records out from the launch and after-party, so this month's selections are largely taken from those - mostly straight-ahead disco with a bit of disco-jazz in the mix.
Further details in the track notes below. Hope you enjoy!
Body Rhythm #8:
Tracklist:
The Chuck Davis Orchestra - The Spirit of Sunshine (Long Version)
Dexter Wansel - (I'll Never Forget) My Favorite Disco (feat. The Jones Girls) (12" Version)
Shobizz - I'm Gonna Live Till I Die
Grace Jones - Suffer
Roy Ayers - Fever
Cloud - Take It To The Top
Bobbi Humphrey - Sweet N' Low
Cerrone - You Are The One (feat. Jocelyn Brown)
Voyage - Souvenirs
Faith, Hope & Charity - You're My Peace of Mind (12" Version)
Gregg Diamond Bionic Boogie - Hot Butterfly (feat. Luther Vandross)
All the records played on show #8
Track Notes:
The Chuck Davis Orchestra - The Spirit of Sunshine (Long Version): Opening things with a lovely, impressionistic disco record which despite the anglo names on the label, is basically a French production. Written by a one C. Carl Wing, an alias for French composer Jean-Claude Pelletier, I'm reminded of the penchant for French disco records to use American-sounding aliases, as that seemed to sell better to French disco audiences at the time. The US release on West End Records that I played here was mixed and finessed by the ever reliable Tom Moulton. The Moulton mix is much more sleek and focused, omitting a lot of the brass solos present on the original which is available to listen on YouTube for comparison. The resulting mix feels a lot gentler, but also sounds deeper and freer.
Dexter Wansel - (I'll Never Forget) My Favorite Disco (feat. The Jones Girls) (12" Version): One of the finest disco singles from the late Dexter Wansel, who recently passed in May at the age of 75. One of the giants of Philly soul, besides his own albums, he's also the man behind records like The Jones Girls' "Nights Over Egypt", Patti LaBelle's "If Only You Knew," and among many others. The Jones Girls' heavenly voices are front and centre here too, an ode to the discotheque and also a musical record of some major American discos of the time. Though Studio 54 is mentioned in the opening verse, I love that the discotheques mentioned are not just limited to New York - among those given tribute in the lyrics are Chicago's B.B.C. (Bombay Bicycle Club), South Jersey's Emerald City, Osko's in Los Angeles, Philadelphia's The Second Story and Kim Graves, even Charlie's Chili in Acapulco to name a few.
Shobizz - I'm Gonna Live Till I Die: One of my favourite tracks from singer/songwriter and dramatist Rupert Holmes' one-off disco project called Shobizz. Released 1979, the same year as his signature hit "Escape (The Piña Colada Song)," I thought this was one of the more evocative tracks on that album and one which builds on the theme and feeling of the previous selection - the disco as escape, and especially your favourite disco as something close to heaven, if you will.
Grace Jones - Suffer: Going from heaven to purgatory here, perhaps? Easily my favourite track on Grace Jones' third album Muse from 1979. The third and final of her Tom Moulton-produced disco trilogy, this track feels almost quintessentially Grace to me. Tough and tender, a strong groove that's also a little bit camp at the same time. Electric whips, cries and regret set to a disco bass (courtesy of Jimmy Williams). This song also features the voice of the album's Icelandic arranger Thor Baldursson in something of a sadomasochistic duet with Grace. Apparently Baldursson lent his voice as a scratch vocal, which to his surprise, was left on in the final mix. You could probaly call that one of those brilliant happy accidents, because it actually works perfectly.
Roy Ayers - Fever: Not the only time the signature hit of Little Willie John and Peggy Lee has been covered in disco fashion; Sylvester also did a great version for his 1980 Sell My Soul album. Nevertheless, Roy Ayers' version here is also one I enjoy. Produced by Ayers and singer Carla Vaughn off his 1979 album of the same name, I thought this particular song was perfectly adapted to his style and to the disco demands of the day. Though I can't say the same for some of the other selections on the album; I don't think I'll ever need to hear a disco version of "Take Me Out To The Ball Game" again, for instance. I imagine a lot of the jazz critics of the day weren't especially thrilled with this direction, but speaking for myself, this one's always done it for me.
Cloud - Take It To The Top: Came across this lovely bit of disco-jazz from 1981 by the brit-funk group Cloud in a local shop a few weeks ago. Took a listen to it and had to pick it up straight away. This record still slaps, as they say. The vocal is minimal (basically an occasional gravelly recitation of the title), but the groove here does all the work.
Bobbi Humphrey - Sweet N' Low: Continuing in something of a disco-jazz vein here, this was also something I had recently picked up, at the same time as the previous selection actually. I've been increasingly curious about flautist Bobbi Humphrey's recordings and when I found a nice copy of her 1979 album The Good Life, I had to pick it up, especially after and hearing all of its disco overtones. This track is among the most danceable on the album, with all the groove and syndrum (pew! pew!, pew! pew!) you could possibly want. Produced by noted percussionist and Ralph MacDonald and William Eaton, who also wrote this track.
Cerrone - You Are The One (feat. Jocelyn Brown): A pairing of two titans of disco here. The opener and title track of Cerrone's seventh album from 1980, Jocelyn Brown is the featured vocalist on this and all of the songs on the album. Recorded between Paris and NYC's Power Station (Chic's home base), it's perhaps Cerrone's most 'American' sounding record, yet ironically enough, has never actually been given a proper US release. My copy is the Canadian Black Sun/Unidisc pressing and even that's not one I see very often around here. Besides Brown on vocals, link hereVoyage guitarist Slim Pezin is on this record, as is noted French bass and synth player Sauveur Mallia, along with Dave Letterman's bandleader Paul Shaffer. Over the years, this song has emerged as a favourite of mine in both Cerrone and Jocelyn Brown's oeuvre. It's disco on the surface, yet in a way I also feel like it's also one of the most convincing pop songs Cerrone has put out.
Voyage - Souvenirs: Thought this went well with the previous track, especially given that there are some musicians in common and that it's also one of the most evocative disco songs out there. Hearing this is almost like an emotional trigger, regardless of whether you lived through the time period or not, but perhaps especially so if you did. Voyage cut their teeth as Paris studio musicians who also regularly released library records/production music. Some of those records, often as Disco & Co., are even getting proper reissues now. This song though, at least to me, remains the pinnacle of their output. The lyrics and vocals bring forth the feeling of the disco as a kind of utopian vision, of the dancefloor as a place to imagine and enact albeit temporarily, community, celebration and freedom. "'Cause all we need is a world of dreams. Forgotten feelings come back in streams. Come join us, don´t hesitate. Just be yourself, be free, let´s be free..."
Faith, Hope & Charity - You're My Peace of Mind (12" Version): Van McCoy is obviously best known for "The Hustle," one of the penultimate disco hits; but I feel he doesn't get quite as much credit for the poignant, soulful songs that he was writing and producing for the group Faith, Hope & Charity or David Ruffin at this time. This song being a case in point. From Faith, Hope and Charity's 4th album Life Goes On from 1976, it's a song radiating with positivity but with a hidden undercurrent of melancholy inside. "You're my peace of mind, that's what you are to me, baby you're my sanity," that undercurrent revealing itself in the line, "when everything's dismal and dark." The disco mix I played here, which extends the song from 7 to just over 9 and a half minutes, is also one of Fire Island DJ David Todd's earliest disco mixes.
Gregg Diamond Bionic Boogie - Hot Butterfly (feat. Luther Vandross): From 1978 and the title track of Gregg Diamond's second Bionic Boogie album, this is probably one of Gregg Diamond's finest songs which Chaka Khan would later make famous. Led here by Luther Vandross, with Cissy Houston on the background chorus, though there are some slight differences in the lyrics and interpretation, it basically strikes the same wistful notes of love and yearning as Chaka's version. Both are interpreted beautifully, and I thought this would be a fitting way to end things here. Interestingly, both Luther Vandross and Cissy Houston would also appear as backing vocalists on Chaka's version, two years later.
Went for a more straight-ahead disco sound all the way through this time. As per usual, kept things fairly loose, a combination of things I had recently acquired and others that were close by. Though most of these songs are from 1977-1979, even the latest selection (from 1984) is still quite disco-esque. A few obscurities may be present, some may be both obscure and well-known at the same time. You'll get what I mean if you listen back.
Further details in the track notes below.
Body Rhythm #7:
Tracklist:
David Bendeth - Feel The Real (Special Disco Version)
Teresa Carpio - Love Hangover
The McCrarys - (Do You Wanna) Dance With Me?
Richie Havens - Going Back To My Roots
Donna Summer - Journey To The Centre of Your Heart
Hello - Feel This Thing (12” Version)
Dennis Dean - Lady Change
Pisces - Touch Me
Jocelyn Brown - Hot Natured Woman
Chain Reaction - Sweet Lady (Dance With Me)
Soul Children - Butt La Rose
Barbara Mason & Bunny Sigler - Locked In This Position (12” Version)
Celi Bee - Alternating Currents
All the records played on show #7
Track Notes:
David Bendeth - Feel The Real (Special Disco Version): Artist/Producer/A&R and all-around music industry veteran David Bendeth released this classic jazz-funk tune in 1979 while working in Canada. Recorded in Toronto, this song eventually went on to become a classic particularly in the UK jazz-funk scene over the years. So much so, Incognito even covered it. Led by the smooth vocals of The Boyer Brothers, it's got a groove that almost perfectly anticipates what Jamiroquai would later do. Though its been revisited in covers and remixes over the years, the original still does it for me though, especially in the extended disco version here. For the curious, Bendeth has posted this song on his YouTube account and regularly responds to comments there.
Teresa Carpio - Love Hangover: From Hong Kong singer Teresa Carpio's 1977 album Songs For You, which I had picked up in a dolllar bin several years back. Sung in English, the album is basically a collection of straightforward covers of popular western songs from the time. Nothing particularly radical, her versions of "I'm Easy," "Fernando," and "Lovin' You" all stay pretty close to the originals. I suppose it's all very much in the vein of southeast asian karaoke culture and being half-Filipino myself, I'm fairly familiar. Of all the songs on the album, her version of "Love Hangover" stands apart for me. Even if they don't take too many liberties, they still lock into a really good groove here. Between the lovely work on the rhodes and Carpio's vocals, which may not be as flagrantly boozy as Diana Ross', but like everything else here - feel just loose and natural enough to make it all work well.
Richie Havens - Going Back To My Roots: Taken from folk singer Richie Havens' 1979 album Connections, which saw him making a stylistic pivot towards a more contemporary pop/soul sound. Produced by Charles Calello, I find it to be a pretty good effort. This song however, his version of Lamont Dozier's "Going Back To My Roots" is the major standout on the album. The grit and heft of Havens' voice over Calello's slick production turn this song into a real dancefloor burner. Personally, I'd go so far as to say that it even outclasses the original as the definitive version of this song.
Donna Summer - Journey To The Centre of Your Heart: While I'm not entirely sure of the divison of labour here, this feels and sounds to me like a perfect combination of Giorgio Moroder and Pete Bellotte's individual production styles. It has those trademark Moroder synths, plus a full horn section behind it for extra energy and momentum, which reminds me of the work Bellotte was producing for Marsha Hunt and Melba Moore around this time. Additionally, Pete Bellotte's underrated lyrical style, lofty and cinematic are on full display here also. Easily one of my favourite album tracks off Donna's signature Bad Girls album.
Hello - Feel This Thing (12” Version): One of the last singles by British glam band, Hello, heard here attempting to keep up with the times in 1979. Written by the Allen brothers - Jeff who was a member of Hello and Chris (AKA Chris Cross) who was the bassist in Ultravox. Interestingly, producer John Hudson would also later work with Ultravox, Midge Ure, Five Star and Tina Turner among others in later years. Here though, they seem to be going for something of a "Do Ya Think I'm Sexy" vibe, with the sax making things just a little extra sleazy. I found that the synth, sax and bass on this song mixed well with the same motifs present in the previous Donna Summer selection.
Dennis Dean - Lady Change: The second Can-Con entry on this mix, sung by Dennis Dean, who I don't know a whole lot about but who had apparently sang in a group called Black Connection with Geraldine Hunt and Pierre Perpall. Produced by Georges Monnier and Michel Daigle, the most promiment name on here, who had produced a number of Montreal disco records. Somehow the title of this song seems like an error, since he's clearly singing "lady chance," not "lady change." Either way, I thought the noodly synth and heavy vibes worked well coming off the previous selection.
Pisces - Touch Me: Getting a little more sensual here, this is my favourite track from a South African disco record called Disco 6 by an outfit called Pisces. One of those records from labels like EMI's Music for Pleasure imprint, consisting of studio band/s covering mostly popular hits. This particular song is one of the exceptions on the record, a killer original that completely hits the spot for me - deep and sensual with a strong disco tempo. No credit for the vocalist, but produced by Mike Pilot, who had done a number of albums of hit parade re-recordings as well as some now notable disco obscurities like Rene Riche and Blush.
Jocelyn Brown - Hot Natured Woman: A little sleeper track from one of the iconic voices of the past 40+ years in disco and dance music more broadly. This was from the EP bearing her major hit "Somebody Else's Guy," on the Prelude imprint Vinyl Dreams. Though this version was released in 1984, the string sweetening here gives this song more of a classic disco feel than the year would suggest. Interestingly, this song was originally released a couple of years prior in 1982 under the moniker Love Connection, with Jocelyn's vocals initially uncredited. The two Love Connection tracks with Jocelyn's vocals (this song and "Hot Blood") were both remixed and included on her Somebody Else's Guy EP. Though now using a mobility scooter, Jocelyn has been performing again in the UK recently and reminding people about some of the shady business behind her signature hit. All these years later, and she reportedly hasn't seen a dime from it.
Chain Reaction - Sweet Lady (Dance With Me): One of only a few singles released on the Jam Sessions label, and a slice of funky American disco from the band Chain Reaction. Likely led by drummer (and the record's producer) Harold Sargent, Chain Reaction released a handful of singles from 79-89, including what may be their best known (at least to me anyway), "Dance Freak" on one of Peter Brown's P&P labels. As far as this single goes, the groove chugs along so well here, I had to play it until the last note. This also happens to be an early Jellybean Benitez mix, which may also be part of the reason why.
Soul Children - Butt La Rose: Recently picked up a nice copy of Soul Children's second-to-last album, Open Door Policy from 1978 on Stax. Ended up buying it in large part after hearing this song. Written by black country singer/songwriter Obie McClinton the lyrics are frankly silly, extollng the virtues of "Butt LaRose [who] wears them sexy clothes." The groove is undeniably funky, though. "When she starts walkin', the streets start smokin'."
Barbara Mason & Bunny Sigler - Locked In This Position (12” Version): The title track of Barbara Mason and Bunny Sigler's 1977 duet album on Curtis Mayfield's Curtom label, this is one I haven't really played a whole lot. Co-written by T. Life (he who produced Evelyn "Champagne" King's "Shame") and featuring Bunny Sigler's signature tight and busy production style, it goes hard, fast and funky in a way that I love. Grooving at a good 126 BPM, and extended to a generous 10 minutes on the promo-only 12" (I didn't play it all the way through here), it's full-tilt boogie on this one.
Celi Bee - Alternating Currents: Taking things way down here with the title track of Celi Bee's Alternating Currents album from 1978. Recently picked up a nice copy, and this was one of the highlights of the album for me. Lyrically, I'm not sure if I'm enough of an elecrician to fully get the metaphor, but it's sung and arranged well enough that it doesn't fully matter. Lovely piece of slow disco, if you will, with a bit of a latin feel.
This month's mix came together rather quickly. Mostly consisting of records I just had sitting around the decks; some new acquisitions, along with some long-time favourites of mine. I can't say this is the roughest mix I've recorded, but probably not the smoothest either. Either way, I enjoyed it enough while listening to leave it alone for the most part.
Mostly in the realm of 80s R&B/Funk, along with a couple entries each of Italo and straight-ahead disco.
Listen back to the archived show below, along with further details in the tracklist and track notes below.
Body Rhythm - Show #6
Tracklist:
Diana Ross - Telephone
Sharon Redd - Sweet Sensation
Lillo Thomas - Settle Down
Kid Seville - Do You Have A Car?
Stargard - What You Waitin’ For
Lace - Can’t Play Around
Girls Can’t Help It - Baby Doll (Extended U.S. Remix)
Norma Jean Wright - Love Attack
Betty Miranda - Take Me To The Top
Fesh - Scandal Eyes (Special T.I.T. Mix)
Caroline Bernier - Take It Off
Irvin Lee - I Need Your Lovin
All the records played on show #6
Track Notes:
Diana Ross - Telephone: After her hit album with Nile Rodgers & Bernard Edwards of Chic in 1980, this is one of those times Miss Ross would work with both of them in the following decade, albeit individually. Produced by Bernard Edwards and co-written by Edwards and Denzil Miller, this is one of favourite tracks off Ross' 1984 Swept Away album. It was something of a minor R&B hit for her in the US, but probably one of my favourite of her post-Motown singles. With Diana's silky, emotive vocals and Bernard Edwards' bass up front, it's got a cool, spacious groove that also fits with in with the sophisticated R&B that I associate with the time period. A friend of mine who wasn't necessarily a Diana Ross fan told me he'd had this song on repeat after hearing it for the first time, and I competely get it.
Sharon Redd - Sweet Sensation: Sharon's one-time boss Bette Midler used the phrase "sleaze with ease" to describe her backing trio, The Harlettes. It also happens to be the perfect descriptor of this song and really, of Sharon's vocals. One of the standouts on her last LP (and my personal favourite), Love How You Feel from 1984 on Prelude.
Lillo Thomas - Settle Down: In line with the previous selections, early-mid 80s R&B has been a mainstay in my personal listening lately, and Lillo Thomas' first two albums are prime examples of it. Produced by Paul Lawrence, it's got that trademark Hush Productions sound that a lot of Melba Moore's records had around that time. I had recently got Lillo's second album All Of You, so it was nearby and I wanted to put something from it in this mix.
Kid Seville - Do You Have A Car?: A later Salsoul single from 1984, when they were really getting street and funky from Leonard Williams, AKA Kid Seville. Produed by Walter Kahn, who had also produced Karen Young's disco mega-hit "Hot Shot," this is a great funky single that straddles boogie and early hip-hop. I love how this single both glamorizes car culture and sends it up at the same time. There's a girl who's thinks she's got too much class to be seen in a broke-down old ride ("not in that '75!"), and the guy who charms her by bragging about his "Cadillac at home with the colour TV." Meanwhile, the girl catches him at the bus stop and he doesn't deny it. In fact, he loves the great conversation on public transportation. That "funky ride," likely ain't cheap, so he likes "to save on cash and save on gas," so therefore he uses his "'trans pass.'" The second half of the song then shifts to our main character extolling the virtues of picking up girls on the bus. Gotta love it!
Stargard - What You Waitin’ For: The title track of Stargard's 2nd LP from 1978 and another Norman Whitfield tour-de-force. Just like their big hit "Which Way Is Up," this song was written by Whitfield, but produced by his associate Mark Davis. Whitfield would later cut this song on Rose Royce the following year for their Rainbow Connection IV album but Stargard's version remains my personal favourite of the two. The groove hits a little harder and the production, packed with funky hooks, just has more grit and guts to it. There's a false fade here that basically divides the song in two, and it's that second half of the song, basically an extended instrumental break which really seals it for me.
Lace - Can’t Play Around: Mixed by Larry Levan and a stone-cold classic from the female group Lace (whose Discogs entry, as of this writing, needs some amalgamating). From 1982 - another really good music year in my opinion, it's perhaps too late to be called 'classic disco,' but it certainly carries so much of the groove and spirit. The vocals in particular really carry the weight here, as in "that's the time when I get serious!"
Girls Can’t Help It - Baby Doll (Extended U.S. Remix): A recent pickup of mine, written and produced by Colin Campsie and George McFarlane AKA The Quick. The Canadian 12" has the extended US remix by Mark Kamins (though he remains uncredited on this pressing), which is what I played here. I can't say these are my favourite lyrics ever, but I suppose they're perhaps better taken ironically rather than literally. Production-wise though, Campsie & McFarlane don't miss on this one.
Betty Miranda - Take Me To The Top: A recent Italo pickup by Betty Miranda (real name: Miranda Gobbetto), who was apparently one of the first prominent female DJs in Italy working both in clubs and on radio. She'd eventually make the leap to recording, working with Romano Bais (AKA 'Mongow') who wrote this song. Produced by Elvio Pieri and Massimo Sierra, this would be the first of three singles she'd release in the mid 80s. While I find the synth sounds and production more sophisticated than the lyrics; even in their phonetic deadpan, I still found the vocal appealing enough to play over the instrumental here. Today, Miranda remains a broadcaster and voice actor in Rimini.
Fesh - Scandal Eyes (Special T.I.T. Mix): Continuing on the Italo tip here... From 1986, this one's a little bit after my favourite period of Italo Disco, but when I took a listen to this at a local shop recently, I was promptly hooked. "Scandal Eyes," also sounds like "Scandalize" so not sure if that mondegreen was intentional, but it feels clever anyway. Despite being on a label called Italoheat, it seems this was entirely produced in Germany by German & Austrian writers and producers. Given that Italo Disco was branded by Bernhard Mikulski of the German ZYX label in the first place, perhaps that shouldn't come as a complete surprise. The production is credited to the anonynous TEAM Musikproduktion, but I'd guess this is largely a product of the writing team - Austrian singer Gilla, (credited here as G. Winger) and her husband Helmut Rulofs. Not sure who Feshis or was, this seems to be the only single attributed to her on Discogs.
Caroline Bernier - Take It Off: The sole Can-Con entry on this mix, Caroline Bernier had a little disco hit as Carolyne Bernier with "Secret Agent Love" in 1978. This track, written and produced by Motown legend, Edwin Starr (!), is probably the catchiest track from her second, self-titled album from 1981 on Unidisc, which was also mostly written and produced by Starr. Since her days as a disco singer, Bernier has made a name in the fashion and beauty industry, most recently executive producing a reality show called The Fashion Hero, billed as "the first competition TV series changing the unrealistic standards in the beauty and fashion industry."
Irvin Lee - I Need Your Lovin: A nice little piece of electro-funk that I picked up at a small record fair recently. Irvin Lee was a member of the band Special Delivery, but had put out a few singles on his own in the mid 80s, including this one from 1984. Synthy without sounding overly slick, this one got me from the first play.
A little more on the boogie/funk tip this time around, mostly early 1980s, though there are one or two selections from the late 70s. Incidentally a little heavy on the Michael Zager productions this time.
The archived show is posted below, with tracklist and track notes, as always!
Body Rhythm - Show #5
Tracklist:
Kathy Buck - Don’t Beat Around The Bush
One Way feat. Al Hudson - Cutie Pie
Al Green - Wait Here (12" Version)
Fever - The One Tonight (12" Version)
Elusion feat. Limon Wilson - Lay Back In The Groove
M-Zee Band - Street Beat
Carl Carlton - Groovin’
Enchantment - Give It Up
Armenta - I Wanna Be With You (New Edit)
Alvin Fields - Lucky Number Seven
Margie Joseph - Ready For The Night
Archie Bell - Touching You
Lipstick - It’s A Tight Fit
Pamela Nivens - It’s You I Love (So In Love) (Long Version)
One Way feat. Al Hudson - Cutie Pie: From their 1982 album, Who's Foolin' Who, and one of their signature hits, this is a groove just bounces - that's the only way I can put it. When those drums hit, there's just no stopping. Picked this up on a 12", but it's basically the length of the LP version. No matter, though, all the more better for playing out.
Al Green - Wait Here (12" Version): An underrated Al Green track from his 1978 album Truth 'n Time. Funky as hell, but alas, only two minutes long on the album. Thankfully, the 12" version was extended to a satisfying 6 minutes. I can't say that I'm well-versed on Al Green's output, but the moment I listened to this at the record store, I knew I was buying it. I find that this 12" tends to stay in my record bag.
Fever - The One Tonight (12" Version): One of my favourites from Dale Reed's disco band Fever. One of the singles from their second and final album, Dreams and Desire. The LP version creates a heavy atmosphere, but the groove really catches fire on this 12" mix. Interestingly, this and all of Fever's output was co-produced by Marty Blecman and John Hedges who cut their teeth on this and other projects on Fantasy Records, like SlickSylvester's Stars album before establishing San Francisco's Megatone Records the following year.
M-Zee Band - Street Beat: Another Michael Zager production, from the album Doctor Rhythm released under his M-Zee Band moniker. Basically an early 80s re-brand of his Michael Zager Band project from the 70s, on which he'd chart a more street-wise, funk-forward sound. Should be said too, it was perhaps just as much Jolyon Skinner's project as it was Zager's. Skinner is the lead vocalist here (and on all the other tracks on the album) plus also the co-writer and bassist. There isn't a dud on the whole album, but I thought this particular song fit the moment here best.
Enchantment - Give It Up: One of the highlights of the Detroit vocal group's final album Utopia from 1984. One of their finest records, with a bold sound and stunning cover art (by artist Stanislaw Fernandes) to match. Producer Michael Stokes is another one of those names whose involvement is almost always an endorsement for me. True to form, Utopia was, to my ears, just a stellar synth funk album. While it probably didn't do for the group what they had wanted it to, it nevertheless still holds up. It's right in line with the assertive sound that groups like The Whispers or Lakeside were doing at the time.
Armenta - I Wanna Be With You (New Edit): Produced by Amir Bayyan AKA Kevin Bell of Kool & The Gang. This one feels like a sister track to another Bayyan producton from around the same time - LaToya Jackson's "Bet'cha Gonna Need My Lovin'." This Armenta track however is my personal pick of the two, in large part because of the killer vocoder bit in the break. Decided to mix into that vocoder section, which made a perfect complement to the synth-funk of the last track.
Alvin Fields - Lucky Number Seven: The third and final Michael Zager production on this mix. From 1981, this is from Special Delivery the sole album he'd produce for singer Alvin Fields. Fields had been a prolific session/background singer and songwriter, particularly on Zager's productions. In fact, he's probably credited somewhere on most of Zager's work from the late 70s-early 80s. Though not a single, this is one of the standouts on Special Delivery.
Margie Joseph - Ready For The Night: A later record by Margie Joseph from 1984 and in full-on dancefloor mode. Likely on the strength of the independent mini-hit she had with "Knockout" the year before, she returned to the Atlantic fold for this one-off album on their Cotillion imprint. She returns here with some heavy-hitters too; Preston Glass and Narada Michael Walden wrote and produced this with Randy Jackson of American Idol fame. While the album doesn't quite hit the heights of her earlier work on Atlantic and Stax, it's an enjoyable attempt at bringing her into a newer, more contemporary sound for the time and this is the song probably achieves that best.
Archie Bell - Touchin' You: A one-off single by Archie Bell minus the Drells from 1982 that was somehow only ever released in Canada (and getting quite pricey these days). Produced by David Morris and Roger Meltzer, the same guys behind Garfield Fleming's hit "Don't Send Me Away." As far as this song goes, the main melody is just so good, especially the call-and-response on the lead and background. That being said, I do wish this song had a better mix. Unfortunately the song is poorly served by it's intro and outro, which in my opnion, don't really go together well with the main melody. I don't usually think of myself as qualified enough to criticize the merits of a mix, but in this case, it feels like those parts so obviously detract from the song's main melody. Either way, I managed to mix in and out of the song just in time here to avoid those parts, but you can certainly get a sense of it if you listen to the whole track. If anything, this is probably one song that would be well-served by a good re-edit or remix from the original stems.
Lipstick - It’s A Tight Fit: A single from the HollandBrothers' Music Merchant imprint by the sister group formerly, or at least otherwise known as Three Ounces of Love. Produced by Holland Brothers' associate Harold Beatty and written by Beatty and the Hollands, this is a pretty cheeky single about the joys in this case of juggling two lovers - "one has the sugar, and the other has the spice," as the ladies say. From 1985, so unfortunately there's a very of-the-time obnoxious guitar solo that I didn't quite mix out of in time, but nevertheless the catchiness and charm of the song remain intact.
Pamela Nivens - It’s You I Love (So In Love) (Long Version): I picked up a recent (likely unofficial) reissue of this one-off single from 1983 not too long ago. I do find that 1983 is just one of those golden years for me. More often than not, picking up a release in the realm of disco/boogie/soul from that year generally turns out favourably, this being no exception. The synths on this are just *chef's kiss*. Even those synthesized handclaps, often a distraction, work perfectly here. The vocal too hits just the right medium, cool yet passionate enough to be engaging without overwhelming the space of the production.
Photo: Alexandra Hutchinson (l) of Dance Theatre of Harlem and India Bradley (r) of New York City Ballet by Ye Fan, 2023
March 15 brings episode 4 of Body Rhythm to Another Setting Radio.
As always, there is disco in the mix. However, decided to start things and close things with some songs that I've long wanted to place in a mix somewhere/somehow.
The archived show is posted below with some further details on this month's song selections... Enjoy!
Body Rhythm - Show #4
Tracklist:
Sheryl Lee Ralph - Be Somebody
Amii Stewart - Working Late Tonight
Sister Sledge - Il Macquillage Lady
Denise LaSalle - Try My Love
Wanda Walden - Don’t You Want My Lovin’
Sal Panzera - No Stasera No
Roxy Robinson - Come On
Alides Hidding - Hollywood Seven (Mike Simonetti & Johnny Jewel edit)
Five Special - Why Leave Us Alone (12” Version)
Rhetta Hughes - Angel Man (G.A.) (Downtown Version)
Fancy Cake - Higher, Higher, Higher
Girly - Trouble
Barbara Mason - Darling Come Back Home
Judy Cheeks - Walking All Over My Love
All the records played on show #4
Track Notes:
Sheryl Lee Ralph - Be Somebody: Starting things off with the side two opener from actor/singer Sheryl Lee Ralph's sole album from 1986. "In The Evening" was the hit and the title track from it, but this is probably my favourite song on the album. I'm not always a fan of the way reggae was incorporated into pop songs during this time, usually as a trendy production style. I consider this an exception though. To me, the synth-forward 80s reggae-style backing track works here without slipping into parody. The urbane melancholy of the song lyrics add a little weight and cut through in an unexpectedly affective and effective way.
Amii Stewart - Working Late Tonight: Another slice of urbane melancholy from a European pop perspective. Amii Stewart may have been considered something of a one-hit wonder in the US, but she continued to make a career in Italy cutting excellent pop songs like this. The drama of the music and lyrics are everything here, and no wonder, as this was produced by British film composer Simon Boswell, who was fresh from producing Italian superstar Renato Zero the year before.
Sister Sledge - Il Macquillage Lady: To my mind, one of the most interesting songs released by the Sisters Sledge. Putting some of their high school French to work here, this is probably the standout for me on their self-produced 1982 album, The Sisters. A song about a woman who uses her makeup as her security, as her illusion, "hiding in her mask of fantasy." Not your typical pop song subject matter and musically speaking, the sparkling synth work here elevates things even further. This song has gotten some extra mileage after being revealed as the base sample Daft Punk used for their track "Aerodynamic." Taken here from the B-side of a 7" single I had fished out of a dollar bin a while back. Their Motown cover of Mary Wells' "My Guy was on the A-side. To my ears, that was probably one of their most pedestrian single choices but a decent hit for them at the time. Slowed the tempo down just a little bit here, for a little extra impact.
Denise LaSalle - Try My Love: From what is possibly Denise LaSalle's most disco-oriented album I'm So Hot from 1980. The title track is the most sought-after cut, but this one's my personal favourite from the album. Cut in a minor key; the thick pulsing synths and sweetened strings just give it the right amount of sleaze and elegance. Was a single in Canada, but nowhere else it seems. For what it's worth, this one almost never leaves my record bag.
Wanda Walden - Don’t You Want My Lovin’: Wanda Walden's 1981 album Searchin' For Love was another one of those dollar bin finds for me. Which is to say, a little weathered but for $1, entirely worth it for this cut alone which checks all the boxes of a top-tier Narada Michael Walden production from the time. In-the-pocket groove, Chic-esque guitars (that's American Idol's Randy Jackson on bass) and a killer break. As for the name connection, Wanda was evidently Narada's sister in-law, and this ended up being her only album.
Sal Panzera - No Stasera No: Meaning No, not tonight, this was a lovely bit of Italian disco via Montreal that Disco Segreta recently reissued, which is how I first heard of this. Originally issued in Canada in 1981 on a small run of 7" singles, Salvatore Panzera had immigrated to Canada in 1967 and would form a band that often played Italian weddings on the weekends in the Montreal area. One of his bandmates was Giovanni "Johnny" D'Orazio who would go on to be a prolific disco producer in Montreal. Though there are no production credits on this reissue or the original 7" single, D'Orazio is listed as a co-writer with Panzera here and it certainly bears all the economically catchy trademarks of D'Orazio's productions. Of the many interesting obscurities Disco Segreta has been reissuing lately, this one is among my favourites.
Roxy Robinson - Come On: From a Canadian single sung in Italian to an Italian production sung in English, this is the opening track from Robinson's sole album Silence and Other Soundsfrom 1977. I'd rate her album as one of my most satisfying record finds recently. So much so, I had made a post about it on Instagram recently. This song is one of the standouts on the album and one which sums the sensual and dramatic sound of the record. I wish I knew more about Roxy Robinson (sometimes credited as Rosalinda Robinson or just ‘Roxy’). She appears to have some other credits on Italian releases from the time, either as singer or songwriter. Produced and arranged by Enrico Intra, Pino Presti also appears on the record and this song was also recently reissued under Presti’s name by Best Record Italy.
Alides Hidding - Hollywood Seven (Mike Simonetti & Johnny Jewel edit): I had first heard Alides Hidding's version at least a decade ago while going down a disco rabbit hole on YouTube. One of those things I had saved to various wantlists and then basically forgot about. A few years ago, DJ Elvin T from Philadelphia plays this one night while he was guesting at Wax Candy Disco here in Toronto. I was working behind the bar that night and racking my brain trying to figure what this song was. I had to go up and ask him afterwards, and he tipped me off to this edit by Mike Simonetti & Johnny Jewel, the guys who founded the Italians Do It Better label. Needless to day, ended up tracking down a copy for myself soon after. Released on their edit label, Perseo, the A-side is a straight-ahead extension of Alides Hidding's 1980 disco version, which remains my personal favourite. I'm a sucker for a tragic, melancholy disco song and this fits the bill perfectly. The B-side of the Perseo release has three other versions, including the original by Jon English, done as a ballad, from 1976. Alides Hidding would end up fronting the Dutch group Time Bandits, perhaps best known for their hit "I'm Only Shooting Love."
Five Special - Why Leave Us Alone (12” Version): The major disco hit from Detroit band Five Special, expertly mixed for disco by Rick Gianatos. While I enjoy this song, didn't play it all the way through here. I loved the synth in the break and thought that would be the ideal point to segue from the previous track, so this one comes in on the latter part of the song.
Rhetta Hughes - Angel Man (G.A.) (Downtown Version): A disco tribute of sorts to New York City's Guardian Angels from 1983. While I'm not necessarily aligned with all the politics surrounding Curtis Sliwa and his organization, there's no question that they provided a measure of safety for ordinary New Yorkers at a time when the city was perhaps at its most dangerous. This is one of two disco tributes to the Guardian Angels that I know of. The other being "The Guardian Angel Is Watching Over Us" from 1979, sung by Margo Wiliams and produced by Patrick Adams. This particular single was produced by Kenny Lehman, who had a hand in Chic's first singles, and politics aside, I find it to be a pretty killer record. This was released later enough in thto the 80s to probably be characterized as Hi-NRG, yet there are enough elements here like the live percussion that also elevate it above a lot of others in that realm. This song ended up being a nice dance hit for Rhetta Hughes who had been a professional singer and Broadway performer for the better part of the previous decade. There was even a video for this song which is in itself a great time capsule of early 80s New York.
Fancy Cake - Higher, Higher, Higher: Speaking of high octane, I came across this recently while doing a little bit of virtual record digging (ahem) on Discogs. Between its rock guitars and the opening verse - "sitting here and waiting for some lover to come," I feel like this certainly took more than a few cues from Donna Summer's "Hot Stuff." While I can't say the lyrics are quite as coherent on this song, they are nonetheless infectiously catchy and sleazy as all hell. I'm not sure of the genesis of the act Fancy Cake, but the picture of the group on the 7" sleeve was enough to seal the deal for me. Produced by Peter Giesecke AKA Patric Perquee, AKA Goudy Heavyface whose work I've played before on the first Body Rhythm show in December.
Girly - Trouble: An obscure Bobby Orlando production possibly from 1984, but released in 1987. Had no idea about this one until a reissue came up a couple of years ago on I.D. Limited. Timely as original copies were starting to go for a pretty penny. It's classic Bobby O all the way through, he's even a little self-referential here with the lyric "yesterday was passion, today it's just excuse."
Barbara Mason - Darling Come Back Home: Thought I'd start bringing the tempo down here with one of my favourite songs by Barbara Mason. From her sole LP on Prelude, I Am Your Woman, She Is Your Wife from 1978, this was the opener and the tour-de-force on the record. It's still perhaps too slow to be full-on disco, but it certainly approaches disco. This song was originally done on Motown in 1973 by Eddie Kendricks and later by Philly group Love Committee, but Barbara's version is perhaps the best one for me. The moody instrumentation and production here is what takes this one a cut above. In particular, there's a haunting horn/synth trigger sound here which was created, I believe anyway, by something called the cromulizer, invented by album's producer, Weldon A. MacDougal III.
Judy Cheeks - Walking All Over My Love: One of her more underrated songs, this was from taken from an album Judy Cheeks had done with Giorgio Moroder's right-hand man Pete Bellotte in 1983 called Hard On The Heels of Love. That album only ever came out in Italy it seems, but one of the tracks, "Fascination" was released as a single in the Netherlands with this song on the B-side. Needless to day, consider this another instance of the B-side resonating with me more strongly. I've used the word 'melancholy' too much already, but it applies here just as well. It's that quality of the song, Judy's mournful performance and the synth hooks here - engaging without being overpowering, that really set this one apart. Sadly Judy Cheeks passed away late last year at the age of 71.
Photo: Grace Jones by Lynn Goldsmith (1979)
