Disco Delivery Mix #16: Guest Mix for Disco Dose SOCIETY, Vol. 43

Was recently invited to make a guest mix for one of my favourite Instagram disco accounts, Disco Dose and their SOCIETY mix series.

Many thanks to Øhm Sweet Øhm for inviting me to contribute! Kept things mostly in the realm of funky, American disco with some forays into Eurodisco, boogie and soul.

Take a listen below...




Disco Dose SOCIETY Vol. 43: Thomas del Pozo (Disco Delivery)

Tracklist:

The Dells - Face To Face
The Escorts - Make Me Over
Crown Heights Affair - Dance Lady Dance
The Supremes - You're My Driving Wheel
Tommy Tate - Let Me Entertain You
Tschai Prender - I Wanna Dance Forever
Asphalt Jungle - Freakin’ Time Pt. 1
Spirit Band - Keep Your Love Alive (12" Long Version)
Carte Blanche - Get Up Get On Your Feet (12" Version)
Jimmy Maelen - Spirit In The Flesh
Sunny Gale - I Wanna Know
Prince Phillip Mitchell - Star In The Ghetto
Claudia Polley - Tous Les Bateaux Tous Les Oiseaux (12" Version)

All the records played in this mix.



Track Notes:

The Dells - Face To Face: The title track from The Dells' 1979 album on ABC Records. The Sweet Inspirations also did a good version of this song the same year. Not sure which one came first, but The Dells' version here feels a bit more funk-forward and an ideal way to start things off here.

The Escorts - Make Me Over: This one's a recent pickup, from New Jersey group The Escorts self-titled LP from 1981, the only one produced by Herschel Dwellingham on his Helva label. This was the opener and the standout jam on the album.

Crown Heights Affair - Dance Lady Dance: The title track from the group's fifth album from 1979. Immaculately produced by the band with Britt Britton and Freida Nerangis; right from the jump, the slow glistening intro sets the tone for the funky disco elegance to follow... One of my favourites of theirs.

The Supremes - You're My Driving Wheel: Another old favourite of mine from the final Supremes album, Mary, Scherrie & Susaye from late 1976. That album was the subject of my very first blog entry here, and one I still bring out with me whenever I play. Produced by Brian Holland, co-written with his regular collaborator Harold Beatty alongside Reginald Brown and Stafford Floyd, two members of New York Port Authority, another group The Holland Brothers were producing at the time. This is also one song that I love to warm up with.

Tommy Tate - Let Me Entertain You: A little sleeper from soul singer Tommy Tate's self-titled 1981 album on Frederick Knight's Juana label. Written and produced by Knight, the man behind Anita Ward's "Ring My Bell", this is one of at least four versions of this song that I know of. Knight also produced versions of this song with The Controllers in 1980 using what sounds like largely the same backing-track, and with C.L. Blast, several years later in 1984. Fern Kinney also recorded a version the same year as this one, but this is perhaps my favourite of the four, with the heft and directness of Tate's vocals really bringing the groove to life.

Tschai Prender - I Wanna Dance Forever: An obscure single from an obscure singer that I'd picked up for cheap some years back. No production credit on the label, but written by (and likely also produced by) Charles Blackwell. Blackwell was a major British arranger, producer and songrwriter in his day who'd work with everyone from Marlene Dietrich to Tom Jones, to Shirley Bassey. He was also commissioned to arrange Beethoven's "Ode to Joy" as the "Anthem for Europe" for the European Parliament. Besides that, the man also had some success in disco, writing and co-producing The Larry Page Orchestra's major hit, "Erotic Soul," even recording a disco album under his own name in 1976. While not as orchestrated as his pedrigee would suggest, this single is actually a spare, sexy, synthy disco groover. Discogs only lists the Rio 12" release from Canada, which is what I played here, so not sure if this was released anywhere else. Nevertheless, a treasured piece of cheap heat in my collection.

Asphalt Jungle - Freakin’ Time Pt. 1: A nice slab of funky disco from 1979 courtesy of Philadelphia drummer and producer Keith Benson. One of two known, released production credits to his name, the other is "Can You Feel It" by the Funk Fusion Band. Both selections are immaculately solid, immediate buys in my opinion. Benson was the brother of singer Carla Benson and as one of the MFSB players, has appeared on a number records in that nexus of Philly soul and disco. Was holding out for a 12" of this, but in the meantime recently came across this on 7", which is what I played here. As it turns out, the tracks on the 7" are the same length as the 12".

Spirit Band - Keep Your Love Alive (12" Long Version): A slice of funky boogie from 1982 on the RSP label out of the Bronx. One of those small independent labels that released records in the intersection of disco, funk and early hip-hop. Scored this earlier in the year and was totally taken by the drum action on this record. Overall, there's a looseness here that's just outside what you'd expect from disco or even boogie from this time. The version I played here is the original release, there's a later release of this with an early M&M (John Morales & Sergio Munzibai) Mix.

Carte Blanche - Get Up Get On Your Feet (12" Version): Recently got the Canadian 12" of this catchy British disco nugget. Produced by engineer Geoff Calver, with Peter Yellowstone and Steve Voice, the team behind Kelly Marie's disco hits at the time. Unfortunately the Canadan 12" came in a generic company sleeve, not the nude silhouettes on rollerscates like in other territories. Nevertheless, for the princely sum of $1, I wasn't going to pass it up.

Jimmy Maelen - Spirit In The Flesh: Recently picked up the sole album, Beats Workin', by the late percussionist Jimmy Maelen on DJ/Producer John Luongo's Pavillion label. Maelen, before his untimely death in 1988, was likely one of the most well-travelled session musicians in New York at the time. Chances are if you're listening to something recorded in New York in the late 70s on a major label, there's a high chance he's somewhere in the credits. It certainly isn't the greatest disco record by a percussionist that I've heard (that title would go to Candido Camero), but it's got a few decent songs which stand out, like this one.

Sunny Gale - I Wanna Know: A stellar, lesser-known Vince Montana production and also a little known later effort by 50s singing star Sunny Gale. As far as I can tell, this is likely her last released recording. Though Gale had a string of hits in the early-mid 1950s, among them "Wheel of Fortune," like many pop singers of the time, her career waned in the wake of Rock n' Roll. She made a brief return to recording in the mid 70s releasing an album of Dixieland Blues in 1974, followed by this disco single not long after. Unfortunately, as a single, it was only released on a rare, promo-only 12" on RCA. It would later be made more widely available on a very good RCA disco compilation called Disco Express, Vol. 1, which is where I took this from. Montana would revisit this song under his Goody Goody moniker, with daughter Denise Montana on vocals which remained unreleased until 2002.

Prince Phillip Mitchell - Star In The Ghetto: Taking things down a bit with this song, one that I personally love so much. Prince Phillip Mitchell wrote this, but Ben E. King and the Average White Band released their version first. That being said, this version has the edge for me. From his Make It Good album from 1978, Mitchell's interpretation makes this feel extra personal, likely because it is. Broadly speaking—musically, lyrically, emotionally, I feel like this song speaks to anyone who's quietly plugging away at whatever it is they're good at and passionate about. It may not have been what was expected of them, it may not get them famous or recognized, but they can see those who see them.

Claudia Polley - Tous Les Bateaux Tous Les Oiseaux (12" Version): Another record I picked up recently. A French production for American broadcaster and musician Claudia Polley, who had also released records as Claudia Ashley at the time. French chanson set to a disco beatbox, this is a cover of the song made famous a decade earlier by Michel Polnareff and not to mention, a pretty obvious attempt at recreating and recapturing the magic of Grace Jones' version of "La Vie En Rose." While it doesn't quite reach those heights, it's not without its own charms too. Even if the reference is obvious, the fusion of French chanson and disco is a combination I always love. There's also an eccentric—especially for the era—record-scratch effect in the song, which is as curious as it is catchy. Another point of connection with Grace Jones: the song's arranger Gérard Salesses also arranged the original 1975 release of Jones’ first hit, "I Need A Man." Polley would also record an English version of this song entitled "Believe," but even in her American-accented French, I prefer this version which I only just realized is in the soundtrack of The Bourne Identity... Digging deeper, Claudia Polley’s background is also quite remarkable in itself. In the 70s before moonlighting as a disco singer in France, Polley had been classically trained at Juilliard and had gone on to become one of the first black female broadcasters in the Indianapolis area. By the 1990s, she was producing jazz records on the Mapleshade label. These days, she is a leading historian and preservationist in the Indianapolis area serving as the president of the Urban Legacy Lands Initiative—a non-profit dedicated to preserving historically black spaces in Indiana. For those who would like to know more about her, she shares her story in a two-part interview with Kyle Long on WFYI Indianapolis' Echoes of Indiana Avenue.


PREVIOUS RELATED ENTRIES:
disco delivery mix #12: wheels begin to roll (wednesday july 05, 2023)
disco delivery #34: unyque - makes me higher (1979, djm) (thursday february 08, 2007)
the first delivery: the supremes - mary, scherrie & susaye (1976, motown) (tuesday january 10, 2006)

LINKS:
instagram: disco dose
instagram: øhm sweet øhm
mixcloud: disco dose


CATEGORIES: DISCO DELIVERY MIXES

Another Setting Radio: Body Rhythm #5

Photo: Alvin Fields by Chris Callis, 1981


Episode 5 of Body Rhythm comes to Another Setting Radio on Sunday April 12th.

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)

All the records played on show #5

Track Notes:

Kathy Buck - Don’t Beat Around The Bush: A lovely one-off boogie 12" that I picked up several years ago. That synth bass and the gentle, but super effective groove of the 808 is what makes this song for me. The only release from Kathy Buck, written and produced by Richard J. Cobb and Rodney Brown. Brown in particular has a number of credits from the time, producing Prelude acts like Bobby Thurston, Gayle Adams and Sharon Redd with his production partner Willie Lester. Richard J. Cobb was also responsible for one of my favourite tracks on West End, "You Can't Have Your Cake (And Eat It Too)" by Brenda Taylor.

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 Slick Sylvester's Stars album before establishing San Francisco's Megatone Records the following year.

Elusion feat. Limon Wilson - Lay Back In The Groove: The first of three Michael Zager productions on this mix. One of many quality productions Zager was doing in the early 80s, I thought this was one of the best things from the two records he produced for the group Elusion. Taken from their second album Show and Tell from 1982.

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.

Carl Carlton - Groovin’: From Carl Carlton's The Bad C.C. album from 1982, which I had recently posted about on my Instagram, not long after his passing. Produced by David Rubinson and with Narada Michael Walden on drums, this wasn't a single, yet it's one of the highlights of the album for me.

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 that 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 Holland Brothers' 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.


PREVIOUS RELATED ENTRIES:
another setting radio: body rhythm #4 (tuesday march 17, 2026)
another setting radio: body rhythm #2 (tuesday january 20, 2026)
having you fills my life.. (thursday april 23, 2009)
disco delivery #59: slick (1979, fantasy) (monday january 26, 2009)
disco delivery #55: cissy houston - step aside for a lady (1980, columbia) (friday june 20, 2008)
disco delivery #22: spinners - dancin' & lovin' (197, atlantic) (monday june 5, 2006)
disco delivery #8: cissy houston - think it over (1978, private stock) (friday february 24, 2006)

LINKS:
another setting radio
instagram: another setting radio
soundcloud: another setting radio archives
another setting radio: artist bio - thomas del pozo


CATEGORIES: BODY RHYTHM

Another Setting Radio: Body Rhythm #3

Photo: Melba Moore by Richard Avedon, 1979


February 15th brings episode number 3 of Body Rhythm.

Bringing a more straight-forward soul and disco selection to this month's instalment. It's February, Black History Month, in the aftermath of Valentine's Day and the depth of winter. In that spirit, I thought these selections all fit the bill in one way or another.

Archived episode posted below for those who want to listen back... Enjoy!


Another Setting Radio

Body Rhythm - Show #3
Tracklist:

Labelle - Goin' On A Holiday
William Bell - Your Love Keeps Me Going
Margie Alexander - Gotta Get A Hold On Me
Eloise Laws - Love Goes Deeper Than That (12" Version)
Paul Lewis - Inner City Blues
Melba Moore - Miss Thing
Peggie Blue - I Got Love
Cheryl Lynn - Love Bomb
Wilbert Longmire - Black Is The Color
Honey - Superhythm
Patience Africa - Sondela (Psychemagik edit)
The Montreal Synthesizer Orchestra - Disco Melody of ‘77
Céline Lomez - Vol de nuit

All the records played on show #3


Track Notes:

Labelle - Goin' On A Holiday: Opening with one of my favourite Labelle songs, from their 1974 Pressure Cookin' album. Written by Nona Hendryx, this is one song which clearly exemplified the point-of-view and emotional immediacy of Labelle's songs, especially the ones Nona wrote. Arranged by Stevie Wonder, who could only be credited on the record as "A Friend." Many people seek escape during winter, never more true than during the months of January and February. Some people seek literal escape, yet there are always other avenues of escape on offer. There's even escape in isolation. Ways to, as the song says, "let your own sunshine brighten up your day."

William Bell - Your Love Keeps Me Going: Picked up Bell's 1977 album It's Time You Took Another Listen at a small record fair in town recently. Was intitially taken by the back and front covers, and this particular song is my favourite on the album. Best known for his work on Stax, this was from the last of his two albums on Mercury before going independent.

Margie Alexander - Gotta Get A Hold On Me: Thought this was the perfect combination of soul and disco to cue up after William Bell. A one-off disco single from Margie Alexander on the Chi-Sound label. Alexander was originally a gospel singer, to which she'd return after some scattered secular singles in the 70s. This song just has a groove that hits hard and a soulful vocal with all the grit and force to match it.

Eloise Laws - Love Goes Deeper Than That (12" Version): A fine disco single from Eloise Laws, who along with sister Debra and brothers Hubert and Ronnie, is a member of the talented Laws family. This is perhaps one of my favorite tracks from her excellent 1977 LP, Ain't It Good Feeling Good. Produced by the Holland Brothers and released on their Invictus label, it was probably one of the last releases on Invictus, as part of their ill-fated pact with CBS. A nice keep-it-real disco valentine, I've always found their work in disco to be inventive and funky, bringing energy and feeling without sounding like anything else or falling into too many obvious genre clichés. I sometimes feel their work with Lamont Dozier casts such a wide shadow, their later work like this often gets overlooked.

Paul Lewis - Inner City Blues: An interesting production from Harry Wayne Casey and Richard Finch, credited to Paul Lewis, one of the other members of K.C. & The Sunshine Band. A single consisting of two Motown covers, Eddie Kendricks' "Girl, You Need A Change of Mind" on the A-side and my favourite of the two, this cover of Marvin Gaye's "Inner City Blues" on the B-side. It's not clear to me how much of Paul Lewis is actually on this single, I suppose he's in the chorus, yet it sounds more like female backing vocalists carrying most of lead here. Nevertheless, I love the Miami-meets-Motown disco sound on this single, as well as the dubby drum effects on this 12" version.

Melba Moore - Miss Thing: I wrote a whole Disco Delivery entry on Melba's 1979 album, Burn, which is something of an anomaly in her catalogue, yet one that I've always really enjoyed. Produced by Giorgio Moroder's main right-hand man, Pete Bellotte, with funky bass courtesy of the great Marcus Miller, this song is one of my favourites on the record. Not only a killer groove, but also somewhat ahead of its time. At least a decade before Paris is Burning and Madonna's "Vogue," this was clearly Melba's tribute to the ballroom scene. Iconic, even if only for that.

Peggie Blue - I Got Love: From one of the few albums of Peggi Blu, as she'd later be known, this was the title track of her first record which was written, arranged and produced almost entirely by legendary songwriter Jerry Ragovoy. Despite the calibre involved here and in later efforts, Blu's recording career never quite took off. Nevertheless, she went on to have a long career as a respected session/background singer and vocal coach. She'd even gain a measure of viral fame in the 2000s, jokingly dubbed American Idol's "Vocal Coach from Hell." Peggi Blu passed away recently in 2024 at the age of 77.

Cheryl Lynn - Love Bomb: One of the standouts from from Cheryl Lynn's 2nd album, In Love, from 1979. Produced by British producer Barry Blue and co-written by Blue and Lynsey de Paul, who did the original on her album of the same name in 1975. Compared to de Paul's original, Cheryl Lynn's version is a veritable monster. Bolder and punchier on the groove with vocals cascading from the stratosphere. While the metaphor was heavily influenced by the prevailing nuclear fears of the time, there's still something of an evergreen statement in there.

Wilbert Longmire - Black Is The Color: A disco-jazz classic from guitarist Wilbert Longmire and his 1978 Sunny Side Up LP that I love to play whenever I can. This is an adaptation of the folk standard "Black Is The Colour of my True Love's Hair," as recast and popularized further by Nina Simone. This particular arrangement and adaptation by producer Jay Chattaway and the great Bob James turns it into a bonafide disco burner. The relation to the original song isn't immediately obvious, the statement is stil there - condensed yet clear. Since it's Black History Month, one thing that emerges in any kind of study of music or musicology is that in nearly every society, wherever one goes, culture and cultural innovation is generally driven by those on the margins. And here, it has to be said, there is no disco music without Rhythm & Blues, Jazz and Gospel. The players may be from many backgrounds, but at its core, it's all driven by black music. Black is the color.

Honey - Superhythm: One of those singles in which the B-side won me over the A-side. An interesting British one-off by 10cc, Sad Café and Mandalaband keyboardist Vic Emerson and producer David Kent-Watson whose credits are mostly on classical records. While the A-side, "Superman! Superman!" is mostly a disco novelty, this B-side had a certain deep, dark sexy disco appeal that sold me on the first play.

Patience Africa - Sondela (Psychemagik edit): Meaning "come closer," this is an isiZulu cover of Donna Summer's groundbreaking classic, "I Feel Love" by South African singer/actress Patience Africa. Lovingly extended by Psychemagik on Volume 3 of their Undercover Lovers series, which is the version I play here. I played another great Psychemagik edit on the first Body Rhythm show and this is another one which they treat in all the right ways. Nothing gimmicky or cliché, just respectfully taking the best parts of the song and making the most of them.

The Montreal Synthesizer Orchestra - Disco Melody of ‘77: I don't think I'd be remiss in calling this yet another variation on "I Feel Love," but it's also a charming little bit of spacey disco from Montreal which I had picked up in the past year. Credits are basically non-existent on the 12" single, however Discogs and the SOCAN database mark the main player behind this single as John Brenner who would go on to produce Montreal disco records by Geraldine Cordeau and Suzy Q among others.

Céline Lomez - Vol de nuit: A single from Quebecois actress/singer Céline Lomez, produced by Yves Lapierre, who had also produced records for Patsy Gallant and Toulouse; music by André Gagnon and lyrics by Jean Robitaille. This song was inspired by (or at least cross-promoted with) a British/Canadian film adaptation of Antoine de Saint-Exupéry's second novel of the same name, a story based on his own experiences as an aviator delivering airmail to South America in the early days of commercial aviation. Lomez also starred in the film, entitled The Spirit of Adventure: Night Flight alongside Trevor Howard and Bo Svenson. Lomez also released an English version of this song entitled "Night Flight," but the French version here felt gentler, warmer and just a generally correct way to end things.


PREVIOUS RELATED ENTRIES:
another setting radio: body rhythm #1 (sunday december 21, 2025)
disco delivery #64: melba moore - burn (1979, epic) (saturday april 14, 2012)

LINKS:
another setting radio
instagram: another setting radio
soundcloud: another setting radio archives
another setting radio: artist bio - thomas del pozo


CATEGORIES: BODY RHYTHM, CAN-CON DISCO

Another Setting Radio: Body Rhythm #2

Body Rhythm returns to Week 7 of Another Setting Radio!

Another Setting's lineup continues to grow, this past Sunday's broadcast lasted most of the day. So, do check out their Soundcloud and take a listen to their expanding roster of Toronto selectors!

This month's installment of Body Rhythm has some more disco in the mix, but starts off with some recently acquired boogie, a little early 80s funk and house that I've been itching to play.

The archived show is posted below with tracklist and track notes if you missed the broadcast or want to listen back... Enjoy!


Another Setting Radio

Body Rhythm - Show #2
Tracklist:

Kaiya - Scandalous
Natalie Cole - Winner (Take All)
Michael Wycoff - Looking Up To You
Margo Michaels and Nitelite - The Good Stuff’s Coming In
C + C featuring Carm - Go For It (Dance Mix)
Narada Michael Walden - Confidence
Stargard - Let Me Be Your Mindbender
Charles Rousseau - Now, Right Now
Jackie Moore - Don’t Knock My Love
Esther Phillips - Love Addict (12” Version)
Lalo Schifrin - Most Wanted Theme
Connie Case - Get Down
Screamin’ Rachel - My Main Man
Glass Pyramid - Better By The Minute
Shikane - Change Your Mind In Dub (excerpt)

All the records played on show #2


Track Notes:

Kaiya - Scandalous: Picked up this spare, slinky little groover from 1983 recently. Produced by 'Godmother of Detroit Soul' Johnnie Mae Matthews, Kaiya is actually her daughter Audrey Matthews. A later release on Juggy Murray's Sue Records, who broke the first Ike & Tina Turner hits in the 60s. Murray sold his earlier masters but would sporadically reactivate the name and label until his death in 2005. I thought this track was just mellow and catchy enough to start things off nicely.

Natalie Cole - Winner (Take All): One of the outtakes from Natalie Cole's 1983 LP, I'm Ready, a one-off for Epic Records. Still in the throes of her drug addiction at the time, she'd eventually disown that entire album on the basis that she really wasn't as 'ready' as the title proclaimed. When she made a major comeback in the early 1990s, Epic would reissue the album on CD with this song and 3 other previously unreleased bonus tracks from the album's sessions. For what it's worth, I think the unreleased songs are actually the best songs from that much-maligned project. Produced by jazz fusion legend Stanley Clarke, this has an assertive, funky groove that would have made a nice release at the time. This song and the other bonus tracks from that album have not been pressed on vinyl yet, at least officially. However, there was a recent bootleg 12" with all four of them that I had acquired not too long ago which is how this song appears here. The mastering job on that bootleg release is not ideal, however it'll do until we get something legit.

Michael Wycoff - Looking Up To You: Recently got this soulful gem of a song on a recent 12" single, which sported a Mike Maurro Mix on the A-side. Maurro is one of those remixers whom I find to be one of the most reliable when it comes to remixing classics like this. As good as his mix was though, I ended up playing the standard mix on the B-side for this. Didn't need it to go on too long, but just wanted to have something soulful and uplifting to take things up a notch. Co-written by Leon Ware and produced by Webster Lewis, it's no wonder this song hits all the right spots.

Margo Michaels and Nitelite - The Good Stuff’s Coming In: I'd picked up the sole album by Margo Michaels & Nitelite late last year at a local shop. Was intriguied initially by the credits, her album being a later production by Holland-Dozier-Holland on their Real World Records label from 1981. As one of, if not the, biggest Motown hitmakers, Holland-Dozier-Holland have an enviable streak of classics to their name. While they would eventualy split in the 1970s, with Lamont Dozier realizing his long-held ambition to be a singer on his own, the Holland Brothers - Brian and Eddie would continue as independent producers. Personally, I'm always on the lookout for the Holland brothers' productions, their work with the latter-day Supremes remains among their finest, for example. Notably, this album (and this song too) marks a rare reunion with all three of them. Though it's not quite on par with their heights at Motown or Invictus, Margo Michaels' album is a decent record with some solid, funky, uplifting moments, like this particular song.

C + C featuring Carm - Go For It (Dance Mix): The sole Can-Con entry this time around, I had picked up this single while in Calgary earlier this year. There wasn't much online about this, but I was intrigued enough to take a chance on it. No word on who Carm is, but C + C was the production duo of Carl Harvey and Carl Otway, both Jamaican-born Toronto musicians with a number of major credits to their names. Both Harvey and Otway would be members of Crack of Dawn and Sweet Ecstasy, best known for their dance hit "Pull Our Love Together" which Harvey and Otway also produced. Like a catchy, uplfting PSA in the form of a hard-hitting dance track, this was a great pickup for $3 and fit perfectly here, thematically and musically.

Narada Michael Walden - Confidence: The title track from Narada's 6th album on Atlantic from 1982. He was just on the cusp of becoming one of the super-producers of the 80s and this song shows why. Hard-hitting, accessible and funky with all the power and groove that its title implies. I don't think this was among his major hits, I don't even think this was a single, but it's certainly a hit on my turntable.

Stargard - Let Me Be Your Mindbender: A later song from Stargard - Rochelle Runnells and Janice Williams, who started in the 70s as a trio with Debra Anderson but were reduced to a duo by the 80s. After a couple of albums on Warner Bros., they returned to MCA for what would be their last album, Nine Lives in 1982. Not sure if that record was done as a kind of contractual obligation, (their first couple of LPs were on MCA) but it seems like Nine Lives came and went without much of a trace. Nevertheless, this song is perhaps the highlight of the record for me. One of the funkiest, hardest tracks they had ever done which inexplicably remained an album track.

Charles Rousseau - Now, Right Now: Another Noel Williams/King Sporty production. I included one on the last show and I have two more here that I've been really into lately. This is the only record credited to Charles Rousseau on Discogs and it's a nice little late disco burner from 1981. Written by Miami soul legend Paul Kelly and released on Noel Williams' Konduko label.

Jackie Moore - Don’t Knock My Love: My favourite song from Jackie Moore's final full-length album, With Your Love from 1980. Fresh from her signature disco hit, her version of The O'Jays' "This Time Baby," this album follows in largely the same pattern. Produced by the ever reliable Bobby Eli and featuring a balance of solid R&B and disco, it was probably released a bit too late for the disco tracks to catch fire, but it has some solid selections, nevertheless. Her cover of The Four Tops' "Helpless" was the single but this song, her version of Wilson Pickett's "Don't Knock My Love" would have been my choice. Her and Eli succcessfully update Pickett's classic here with just the right amount of grit, soul and energy. Interestingly enough, a couple of years later in 1982, Moore would duet with Pickett himself on "Seconds," also produced by Bobby Eli and released as a single on the Catawba label. Not sure who did it first, but Loleatta Holloway and The Salsoul Orchestra would also record that song the same year, with Patrick Adams producing.

Esther Phillips - Love Addict (12” Version): Picked up this promo-only 12" mix of the lead single from the late Esther Phillips' first Mercury LP from 1977, You've Come A Long Way, Baby. After having a disco hit on Kudu with her version of "What A Diff'rence A Day Makes," it seems Mercury snapped her up but kept her sonic formula largely intact. Not to mention, this song and the album it was from seem to make clear reference to her storied history of drug addiction. Nevertheless, the allusion is both potent and convincing, her voice alone sounding like a perfectly weathered story in itself.

Lalo Schifrin - Most Wanted Theme: Some lovely disco that I wish were longer from the soundtrack master, Lalo Schifrin. I was tipped off to this track recently just as I've been exploring more music in that specific jazz/funk/disco intersection. There's a kind of electronic shuffle effect in this song that is just so damn cool and sweeps you in so brilliantly. I had recently picked up his 1977 Towering Toccata album not long before recording this, so it was nearby and begging to be included!

Connie Case - Get Down: The other Noel Williams/King Sporty track in the mix, and it's an update of a track he had originally done in 1979 as King Sporty & The Root Rockers. I love that single, but this updated version from 1982 is probably my preferred take. The vocals are more up-front here and those drums, which have a kind of proto-house sound to my ears, just hit a little bit harder.

Screamin’ Rachel - My Main Man: Speaking of hitting hard, I recently got this release from 1985 on Trax, one of the major Chicago house labels. I'd been after a copy of this ever since hearing it some 10 years ago and now that I have it, I still can't get enough of it. Screamin' Rachel Cain's story is legend in itself. She would eventually marry Larry Sherman, the founder of Trax and would assume control of much of the business. That again is it's own messy odyssey and perhaps best told elsewhere. Vice did a profile of her in 2013 called "The Punk Rocker Vho Made Chicago House Happen" by Vivian Host, which is still online and worth a read.

Glass Pyramid - Better By The Minute: Another piece of solid funk reissued by PPU back in 2024. Glass Pyramid were a funk band from Oklahoma City active throughout the 80s, and this particular track from 1988 is definitely one of their finest. Produced by the band with Mel Bolton who had a number of credits on Motown throughout the 80s, the track slaps and the vocal from Georgetta Funches really lights it up. With originals going for hundreds of dollars, grateful that PPU had made this one available again.

Shikane - Change Your Mind In Dub (excerpt): I needed to keep things exactly to an hour, so I only played part of this track. A little 12" I picked up recently by British act Shikane from 1984, and this was apparently their only single. To my ears, this is kind of in the vein of what Imagination were releasing at the time. I love the moody synth instrumentation on the track more than the vocals or the lyrics, so the more spacious dub mix was really what grabbed me here. Played just enough of it to bring things to a gentle close.

LINKS:
another setting radio
instagram: another setting radio
soundcloud: another setting radio archives
another setting radio: artist bio - thomas del pozo


CATEGORIES: BODY RHYTHM, CAN-CON DISCO

Get up on it and ride..

The Temptations - Bare Back (1978, Atlantic)

The Temptations - Mystic Woman (Love Me Over) (1978, Atlantic)
The Temptations - Touch Me Again (1978, Atlantic)
❚

For the record, while I'm definitely not endorsing any of the practices supposedly suggested or implied in this song, I do heartily endorse it's groove.

The title track from The Temptations' "Bare Back" (1978, Atlantic) album, their second and last during their brief, unsuccessful period on the Atlantic label in the late 70's, this was a single, but like all of their other Atlantic material, never went anywhere commercially. Supple basslines, spirited vocals (largely courtesy of lead vocalist Richard Street), and propulsive bass-heavy groove aside, perhaps it was better that it didn't, in retrospect. I suppose using the expression "riding bareback" as a metaphor for life and living may have been acceptable in 1978 pre-AIDS; to say that it's an expression which hasn't held up too well over the years would probably be an understatement. Then again, I suppose that depends entirely on one's perspective..

However, with the great production and the admittedly out-of-context naughtiness one can't help but read into it today, I personally can't get enough of it. With this track and practically the entire album produced and co-written by Motown veteran Brian Holland alongside brother Eddie Holland and their main writing partner at this time, Harold Beatty (essentially Lamont Dozier's replacement), this is just one of the many excellent, underrated productions that the Holland Brothers were involved with at the time. While there's no topping the legacy of Holland-Dozier-Holland as pop songwriters, Eddie Holland's bright, funk-bottomed, disco flavoured productions in the late 70's for acts like The Supremes (covered on here before), The Jackson 5, Eloise Laws and others like the short-lived group, New York Port Authority are top quality, in my opinion..

As far as the album goes, In spite of having pulled together a top-flight team of Philadelphia's finest (which included Norman Harris and future group member Ron Tyson) on their first Atlantic LP, "Hear To Tempt You" (1977, Atlantic), out of their two Atlantic albums, I'd consider this to be the best of them. While not as ambitious as their Norman Whitfield material, or their last big Motown record, the Jeffrey Bowen-produced "A Song For You" (1975, Gordy/Motown), the other disco-flavoured tracks on the record like "Mystic Woman (Love Me Over)" and "Touch Me Again," the sublime balladry in "Ever Ready Love" (also a single), and "I See My Child" (the only track not written by Holland, Beatty and Holland) make it solid and satisfying, nonetheless.

While I can't imagine any of the current Tempts revues get too many requests in their shows for the song in question, thankfully You Tube has video. One from a 1979 live performance on the Chicago TV show Soundstage, and another from the ever-reliable Soul Train. Also from the same Soul Train appearance, is a performance of one of the album's ballad tracks "Ever Ready Love," which, if I'm not mistaken, might have been their final single release for Atlantic.


The Temptations - Bare Back (1978)
Uploaded by 2007wiifit


Temptations - Bare Back (Soundstage Chicago 1979)
Uploaded by whatiship73


The Temptations - Ever Ready Love (1978)
Uploaded by 2007wiifit

PREVIOUS RELATED ENTRIES:
WHITNEY DOES LOLEATTA.. (FRIDAY AUGUST 7, 2009)
R.I.P. MICHAEL JACKSON (FRIDAY JUNE 26, 2009)
DISCO DELIVERY #51: THE SUPREMES - HIGH ENERGY (1976, MOTOWN) (SATURDAY JANUARY 26, 2008)
DISCO DELIVERY #41: TÁTA VEGA - TRY MY LOVE (1978, MOTOWN) (SATURDAY MAY 19, 2007)
THE SUPREMES - MARY, SCHERRIE & SUSAYE (REPRISE) (THURSDAY MARCH 8, 2007)
DISCO DELIVERY #12: DAMON HARRIS - SILK (1978, WMOT/FANTASY) (FRIDAY MARCH 24, 2006)
ALL I NEED'S A LITTLE POWER.. (WEDNESDAY FEBRUARY 22, 2006)
DISCO DELIVERY #1 - THE SUPREMES - MARY, SCHERRIE & SUSAYE (1976, MOTOWN) (TUESDAY JANUARY 10, 2006)

LINKS:
DISCOGS: THE TEMPTATIONS - BARE BACK LP
ALL MUSIC GUIDE: THE TEMPTATIONS - BARE BACK (REVIEW)
DISCOGS: BRIAN HOLLAND
ALL MUSIC GUIDE: BRIAN HOLLAND
WARR.ORG: THE TEMPTATIONS - BARE BACK (REVIEW)
ROBERT CHRISTGAU REVIEWS: THE TEMPTATIONS

CATEGORIES: MINI DELIVERIES, VISUAL DISCO

Disco Delivery #51: The Supremes - High Energy (1976, Motown)

The Supremes - High Energy
The Supremes - I'm Gonna Let My Heart Do The Walking
The Supremes - I'm Gonna Let My Heart Do The Walking (Extended Version)
The Supremes - Only You (Can Love Me Like You Love Me)
The Supremes - You Keep Me Moving On
The Supremes - You're What's Missing In My Life

A couple of years ago (yikes), I had done my first post on here on The Supremes excellent final album, "Mary, Scherrie & Susaye" (1976, Motown). I had promised another Supremes post a while back, so I figured I might as well do it now..

Produced by Brian Holland and executive produced by Edward J. Holland, both of the legendary Holland-Dozier-Holland production team, arranged by Dale Warren and featuring star session players like Wah-Wah Watson (credited here as Melvin Ragin, as on most of his Motown sessions), Joe Sample and even Ray Parker, Jr., this LP seemed to mark a reunion of sorts, being the first full album the Holland brothers (this time minus Lamont Dozier) had produced for the group since the 1960s. However, unlike it's predecessor or it's follow-up record (which the Holland brothers also produced), I don't really consider this particular album to be among their better records. In fact, I've always found this to be a rather average album at best. What salvages this album though, are the two disco classics that open the record, "High Energy," and "I'm Gonna Let My Heart Do The Walking," the latter being their last top 40 hit in the US and their biggest in a while by this point. Although the pop success that once defined them had long since faded, these two tracks are definitely among some of The Supremes' strongest records of the 70's, both having performed quite well in the discos - "I'm Gonna Let My Heart.." peaking at #3 and "High Energy," (which wasn't even a single) peaking at #9 on the Billboard disco charts.

By this point The Supremes were on their fourth and final lineup (Mary Wilson, Scherrie Payne & Susaye Greene) since Diana Ross' departure, with longtime member Cindy Birdsong having departed (or rather having been fired by Wilson's then husband/group manager) just after the album was completed. Enter Susaye Greene; widely known these days as "The Last Supreme," the pint-sized multi-octave vocalist already had quite an accomplished resume upon joining the group, having worked with the likes of Ray Charles, Stevie Wonder, New Birth and having written for Deniece Williams (and later on, Michael Jackson post-Supremes). Having joined just after the album was finished, Birdsong's background vocals were evidently kept in the mix, with Susaye's vocals overdubbed on a few songs (although Susaye herself disputes this, saying she was in fact on all of them).. Regardless of the circumstances surrounding it, "High Energy," the album opener and title track is, quite appropriately, the defining statement of this album. Reportedly intended for departed member Birdsong, Greene, in her recording debut with the group (and one of her few full lead vocals for The Supremes) puts her indelible stamp on it; her soaring vocals perfectly complimenting the lush, high flying arrangements. Harold Beatty, the Holland Brothers' main collaborator on the album and co-writer of this song explained to writer Brian Chin years later (for his essay on the Supremes Box Set): "I always liked the lushness of a symphony, that's where the concept behind the 'High Energy' album came about." An elegant disco-funk opus, nothing else on the album would summarize Beatty's concept better. Combining the rich sounds of orchestral disco, the assertiveness of Norman Whitfield and Isaac Hayes' funk symphonies with the well-established grace and class of The Supremes, "High Energy" seemed like a bold step forward..

Despite not sounding anything like the synthesized disco subgenre of the 80s that would take it's name, one would be hard-pressed to deny the uplifting feeling of this track. With an entrancing looped guitar (?), warm keys, orchestral tympanis and a burning wah-wah laying the foundation in the intro - which runs nearly two minutes before Mary Wilson's sensual spoken intro kicks in: "share what you got to keep what you need, right?.... Wrong!," the song has an incredible, understated buildup. With Susaye's vocals right in the stratusphere by the second half of the song, complimented by those string washes and serene background vocals (anyone else hear shades of Marvin Gaye's "I Want You" here?), the track peaks in truly epic, exciting fashion towards the end..

"I'm Gonna Let My Heart Do The Walking," the second track into the album, is for me another one of those disco songs which radiate nothing but pure, unadulterated joy. It's likely the best remembered track on the album, and perhaps the most enduring out of all The Supremes' disco hits. Opening with those unforgettable strutting drums and percussion, propelled along by Wah-Wah Watson's scorching guitar work; with it's rousing, uplifting arrangement and it's empowering theme, "I'm Gonna Let My Heart Do The Walking" proved to be a surefire winner.. Between Scherrie Payne's confident, brassy vocals being a perfect fit for the track's theme, understated string sweetening, wah-wah going wild towards the end, it's a pity this never got a true extended remix. With all the amazing elements in play here, the possibilities for not only extending it's length, but for heightening the song's feeling seem endless. At a perfunctory three and a half minutes in length, it certainly speaks to it's excellence that it did as well as it did in the discos, and continues to be a mainstay today.

So far, the only official 'extended' version of this song seems to be a four minute version, that if I'm not mistaken, was unreleased until it's inclusion on the Motown compilation "Funkology, Volume 3" (1996, Motown). Less of a special extended disco mix and more like a slightly longer alternate mix, the main difference with the extended mix seems to be a new bridge placed earlier in the song, which, at least to me, seems to throw a bit of a wrench into the upward, uplifting dynamic of the song.

The rest of Side A is filled out with the two remaining uptempo tracks on the album: "Only You (Can Love Me Like You Love Me) and "You Keep Me Moving On." While they don't exactly live up to the excellence of the first two tracks, they're probably among some of the more enjoyable tracks on the album with Scherrie Payne's vocals making all the difference, injecting them with enough energy to carry them across, even in some of their more laboured sections (some of the verses in "You Keep Me Moving On," for example).. For me, the most exciting of these two tracks would have to be "Only You..," with it's bold intro, memorable refrain, and the background vocals' perfect, balanced interplay with the lead, which add a great deal to the track..

As far as the rest of the record goes, Side B was pretty much turned over to the ballads, largely featuring Mary Wilson on vocals. Although tracks like "Don't Let My Teardrops Bother You," a cover of an earlier Dionne Warwick (in her Dionne Warwicke days) song and a medley pairing an original "Til The Boat Sails Away" with the Thom Bell/Linda Creed standard "I Don't Want To Lose You," (originally for The Spinners) spotlighted Mary's vocals quite well; the latter, in particular, with it's sparse arrangement and 8 minute length, felt much too plodding than it needed to be. The bright spot on Side B however was the final track, "You're What's Missing In My Life" (later covered by Motown labelmate/former Spinners singer G.C. Cameron) featuring Wilson and Scherrie Payne on vocals. A beautifully arranged ballad that seemed to bring things full circle, bringing back the lush, dynamic orchestration of the title track (especially in that killer intro), making it a perfect album closer.

Overall, while their self-titled album from the previous year marked The Supremes' emergence in the discos, the two leading tracks off this album seemed to solidify their presence. With the Holland Brothers' storied history and them having produced a couple of the best tracks off their 1975 self-titled LP, perhaps there was an idea that this reunion might be able to re-create some of the old magic from The Supremes and Holland-Dozier-Holland's hitmaking glory days. While it didn't quite happen that way commercially speaking, even with their follow-up record "Mary, Scherrie & Susaye" which would prove to be a much more solid, consistent and better album overall; at the very least this LP, with it's standouts: "High Energy" and "I'm Gonna Let My Heart Do The Walking" showed that there were definitely still life left in the group. Unfortunately, strong material aside, with the rise of other female groups like First Choice, The Three Degrees, The Pointer Sisters, The Emotions and former rivals Labelle, it seemed the Supremes' bid for mainstream relevance had become something of a losing battle by this point. Still though, the fan in me can't help but wonder with their success in the discos, their glamorous image and their strong gay following if they still stood a chance. Perhaps as a disco act, they would have been able to recapture some of their former glory with disco's explosion into the mainstream, which was just around the corner by this time. The 'what-if's' are endless, I suppose.. However, while the group would last for barely another year and for only one more album, the disco classics that The Supremes left us with would prove to be the final triumph for one of Motown's most successful, legendary groups..

Just a note about CD availablility: While this album has yet to be released on CD in it's entirety, "I'm Gonna Let My Heart Do The Walking" and "You're What's Missing In My Life" along with an inferior alternate version of "High Energy" were all included on the excellent Supremes 70's Anthology (2002, Motown/Universal) double-CD set, which it appears has just recently gone out of print (though a digital download is still available). Despite the Motown Funkology CD being out-of-print as well, the extended version of "I'm Gonna Let My Heart Do The Walking" is still available on CD, included on the Supremes box set from 2000 along with the full LP version of "High Energy." For another option, the full version of "High Energy" is also available on the more recent (and much more accessible) double cd compilation "Motown Disco" (2005, Motown/Universal), compiled by the good people at Six Million Steps to whom I'm forever grateful for including this..

Also, I couldn't possibly do this post without including some Supremes videos from this time.. Although it has to be said, as much as I love seeing these ladies on video, sometimes the videos showed the weakness in this particular lineup. Between Mary towering over the other two ladies, and often being made the visual centre (even when she wasn't the lead vocalist), Susaye's sometimes exaggerated expressions etc.. visually the lineup seemed rather awkward at times, even as their recordings were some of their most exciting...

This first video is of the ladies doing a stellar live performance (for what appears to be a stone-faced audience) on The Mike Douglas Show, which they pull off marvelously.. Also included is a brief interview with the ladies, where Mary Wilson speaks about the then recently deceased original Supreme, Florence Ballard, with some emotional difficulty. On a visual note, Supremes fans will probably notice those dresses as holdovers from the Diana Ross & The Supremes days..



The Supremes - I'm Gonna Let My Heart Do The Walking (Mike Douglas Show)
Uploaded by gmcclo1974

Part two of their Mike Douglas appearance, taking things down a bit with a performance of one of the album's ballads "Don't Let My Teardrops Bother You" with Mary taking the lead.




The Supremes - Don't Let My Teardrops Bother You (Mike Douglas Show)
Uploaded by gmcclo1974

The next two are from their early music video project, which was given an extremely rare home video release as "The High Energy Video Collection." That collection included selections from both this LP and "Mary, Scherrie & Susaye." Looking at these videos, I gotta give props to Mary here for holding her own, even while visibly pregnant (notice the bump in the first video and the big red dress in the second). Got to mention also how much I love the graceful, coordinated choreography at the beginning of "You're What's Missing In My Life" - the disco Supremes at their most glamorous! I should also mention that they also did a video for "High Energy," which was unfortunately deleted from YouTube some months back. Here's hoping someone reposts it one of these days.. Anyway, If you're still curious to see more Supremes videos from the same collection, click over to the Mary, Scherrie & Susaye (reprise) post from earlier last year, where you can see the awesome videos for a couple of their later disco stormers "You're My Driving Wheel" and "Let Yourself Go"..



The Supremes - I'm Gonna Let My Heart Do The Walking
Uploaded by ivyfield



The Supremes - You're What's Missing In My Life
Uploaded by ivyfield

PREVIOUS RELATED ENTRIES:
DISCO DELIVERY #41 - TÁTA VEGA - TRY MY LOVE (1978, MOTOWN) (SATURDAY MAY 19, 2007)
THE SUPREMES - MARY, SCHERRIE & SUSAYE (REPRISE) (THURSDAY MARCH 8, 2007)
DISCO DELIVERY #1 - THE SUPREMES - MARY, SCHERRIE & SUSAYE (1976, MOTOWN) (TUESDAY JANUARY 10, 2006)

PURCHASE:

THE SUPREMES - THE 70'S ANTHOLOGY (2 CD) (INCLUDES 'I'M GONNA LET MY HEART DO THE WALKING,' 'YOU'RE WHAT'S MISSING IN MY LIFE')
AMAZON.COM | AMAZON.CO.UK
VA - MOTOWN DISCO (2 CD) (INCLUDES 'HIGH ENERGY')
AMAZON.CO.UK | CD UNIVERSE

LINKS:
THE SUPREMES - HIGH ENERGY LP @ DISCOGS
THE SUPREMES - HIGH ENERGY LP @ WIKIPEDIA
THE SUPREMES - HIGH ENERGY LP @ DISCOMUSIC.COM
THE SUPREMES - HIGH ENERGY LP (REVIEW) @ ALL MUSIC GUIDE
THE SUPREMES - HIGH ENERGY LP (REVIEW) @ WILSON & ALROY'S RECORD REVIEWS
THE SUPREMES @ WIKIPEDIA
MARY WILSON - OFFICIAL SITE
SCHERRIE PAYNE & LYNDA LAURENCE - FORMER LADIES OF THE SUPREMES
MYSPACE - SUSAYE GREENE
SOULFUL BOHEMIAN MAGAZINE - SUSAYE GREENE INTERVIEW (DECEMBER 2007)
WEB DIGEST WEEKLY - SUSAYE GREENE INTERVIEW (DECEMBER 10, 2006)
TRI-STATE DEFENDER - SUPREMES DRAMA CONTINUES.. (BY STEVE HOLSEY) (OCTOBER 19, 2006)

CATEGORIES: DISCO DELIVERIES, VISUAL DISCO