Lost in the night

Photo: Nona Hendryx by Nick Sangiamo, 1984

Posting a little overdue mix for the start of summer...

Some years back I had made a little tradition of putting a mix up for Pride season, so am coming back to that partial sort of way. At the same time, this particular mix isn't exactly the straight-on celebratory disco that I'd usually have on tap for the occasion. Decided instead to go in a few different directions this time, using various selections of post-disco, and/or disco-adjacent material this time. Still, quite heavy on female singers, as is my tendency. Most of the songs on here are just under or just over 100 BPM, so I suppose this one's perhaps more for walking than dancing.

Most of the records I used for this mix were also ones that I brought the last time my partner Andrew and I played our INTERGEN night in May. As it turns out, we'll be doing another INTERGEN night this coming Wednesday June 28th, a kind of post-pride recovery through records, if you will. Starting at 9PM at The Little Jerry in Toronto. If you're in the area, do come by!

Lost In The Night (Download)

Tracklist and track notes below... Enjoy!

Tracklist:

Terry Crawford - Chocolate Candy
Hot - Just ‘Cause I’m Guilty
Lucio Battisti - Un uomo che ti ama
Maxine Nightingale - Get It Up For Love
Alfie Silas - Put The Freeze On
Nona Hendryx - Soft Targets
Costas Charitodiplomenos - Lost In The Night (12" Version)
Barbara Fowler - Come and Get My Lovin’
First Love - It’s A Mystery To Me
Linda Clifford - I Want To Get Away With You
First Choice - Pressure Point
Dalida - Helwa ya baladi
Martha Velez - There You Are
Paula Moore - On The Edge
Liza Minnelli - If There Was Love

All the records used in this mix

Track Notes:

Terry Crawford - Chocolate Candy: A favourite of mine from Canadian singer Terry Crawford (sometimes called Terri Crawford) and one that I had happened upon quite by accident. Back in 2006, when I was living in Calgary, my favourite record shop had a back store room full of records. The owner noted how much disco I was buying, so let me into his store room, telling me that anything I found in there was $2 bucks a pop. I didn't have a portable record player with me, nor did they have a preview station, so I was going largely on instinct. While this wasn't exactly the disco I was perhaps half-expecting, I consider it one of the gems I found in that particular expedition. Written and originally recorded by American singer-songwriter Cheryl Dilcher in 1973 (who herself has a little disco connection), there's something about the bass in the groove here, and Terry's vocal approach that cinches this as my preferred version. Some years later, I figured out this was a fairly sought after record when someone from Europe messaged me on Discogs offering to pay me an amount of my choice for a .wav file of this song. As of this writing, the promo-only 12" is still going for upwards of $200 USD on Discogs, though I will say, for the intrepid diggers out there, copies still show up once in a while in Canadian dollar bins.

Hot - Just ‘Cause I’m Guilty: This group, comprised of Gwen Owens, Cathy Carson and Juanita Curiel put out three albums, all of which were helmed by the Muscle Shoals production duo of Clayton Ivey & Terry Woodford. I first heard Ivey & Woodford's work on The Supremes 1975 self-titled album. Not long after their time on Motown, they had one of their biggest hits on this group with the song "Angel In Your Arms," later covered by Millie Jackson, Barbara Mandrell and Reba McIntyre, to name a few. While that was the hit, the funkier sass and swing of "Just 'Cause I'm Guilty," the last track on Hot's self-titled album, remains my favourite. In any case, both songs summarize that intersection of soul, funk, and country that Ivey & Woodford covered so well.

Lucio Battisti - Un uomo che ti ama: First heard of Lucio Battisti through the Italian diva, Mina, who sang many of his songs. One of his many successful collaborations with the lyricist Mogol, his 1976 album (which this song is from) is among my favourites. Called Lucio Battisti, La batteria, Il contrabbasso, eccetera (The drums, the double bass, etcetera) it's one I had discovered from my partner, Andrew's collection, and shows Battisti incorporating ever more elements of American funk and disco into his sound. Recently, Sony Music Italy reissued the album on vinyl with a bonus CD which included the Spanish version of the record. This song, (which in English means, "A Man Who Loves You") and the entire record remain a wonderful listen in either language.

Maxine Nightingale - Get It Up For Love: I don't think I've heard a bad version of this song, which is a good thing, because there seem to be quite a few out there. I first heard this song when Táta Vega covered it as a disco song on her Try My Love album in 1979, which I had written about on this blog some years back - see Disco Delivery #41: Táta Vega - Try My Love (1979, Motown). This version, from 1977 on Maxine Nightingale's second album Night Life (sometimes titled Love Hit Me after its lead single) cuts closer to Ned Doheny's original. Though Táta's version will always be tops for me, I'd rank this up there as a favourite also.

Alfie Silas - Put The Freeze On: Alfie Silas-Durio has a long list of credits to her name as a session singer, as well as three albums of her own from the early 80s. This one's from her first, Alfie on RCA in 1982, which had a number of good tracks (I've found 1982-83 to be particularly good years for post-disco R&B/Boogie records). Ended up buying the album largely on the appeal of this song. Its melancholy synths conjure up spacey themes and metaphors, as do the lyrics. From that description one would think the whole thing could fall into gimmicky and/or cheesy territory, but it all comes together in quite a sincere, soulful and innovative way. Pitched down slightly for a little extra depth.

Nona Hendryx - Soft Targets: One of my favourite songs from her underrated 1984 LP, The Art Of Defense, the lyrics conjure up thoughts and images of vulnerability and uncertainty with a groove that's minimal but powerful. Pitched this one down also for beatmatching purposes and to impart a little extra power. In my opinion, a highlight of the work she did with Material/Bill Laswell in the early 80s.

Costas Charitodiplomenos - Lost In The Night (12" Version): Italo-Disco from Greek singer/songwriter Costas Charitodiplomenos. I had discovered Costas' songs on YouTube, and was intrigued at the Italo sound some of his work had. The connection clearly wasn't lost on the Italians either, as this ended up on the Many Records label in Italy, remixed by Mario Flores and Romano Bais (who put out a number of Italo records as R. Bais). Lyrically and melodically solid, I thought it worked well with the theme and feeling of the previous Nona Hendryx track and many of the other selections here.

Barbara Fowler - Come and Get My Lovin’: Stellar boogie from the Radar label and singer Barbara Fowler, who had been a vocalist in the disco/boogie projects Sinnamon and Sparkle. Don't always get to play this one, but am glad to find a place here for it. From the extended dubby synth effects to a killer soulful vocal, this has so many of the things I love about early 80's boogie. Produced by Eric Matthew (AKA Joe Tucci), the man who brought you Gary's Gang, Sure Shot by Tracy Weber and many of Sharon Redd's hits.

First Love - It’s A Mystery To Me: I've covered this group here before, when I posted their 1980 disco single Don't Say Goodnight/Love Me Today. Until recently, their sole album, Love At First Sight, on their producer, Donald Burnside's label, Chycago International Music, remained elusive for me. When I finally picked it up at a recent record fair, this song was one of the standouts for me. From 1982, one of those golden years of boogie, much like the previous selection - a funky groove, with lovely synths together with charming, soulful harmonies.

Linda Clifford - I Want To Get Away With You: One of my favourite disco divas, and a highlight from one of my favourite albums of hers, I'm Yours from 1980. That album was mostly produced by Isaac Hayes, and this song in particular has his stamp all over it. Personally, I think it's too bad this wasn't a single. I love hearing Linda sing in her lower register here, and all of the little classy touches on the production, from the elegant pauses to the guitar hook that gets you right from the top.

First Choice - Pressure Point: Another one I've covered here before - see Disco Delivery #29: First Choice - Breakaway (1980, Gold Mind/Salsoul). This was from the group's last album, and while this song wasn't among their hits, it's definitely among my personal favourites of theirs. Produced by the ever reliable Norman Harris and mixed by Tee Scott, from those strings at the intro, to all of the sharp, teasing breaks and edits, am glad to finally place this one in a mix!

Dalida - Helwa ya baladi: Changing gears into a signature song from the late icon of French pop, Dalida. I picked up a Canadian pressing of the album this was from, Dédié À Toi/Monday Tuesday some years back. However it wasn't really the disco tracks that captured me but this one, the last song on Side A. Sung in her native Egyptian Arabic, the title evidently translates to "Oh Sweet, My Homeland." Something of an evergreen patriotic song in Egypt these days, it's easy to hear why this became one of Dalida's most beloved songs in Egypt and across the Arab world.

Martha Velez - There You Are: I had bought Martha Velez' album Escape From Babylon at my favourite Calgary record store back in 2005. At the time, I didn't really have a great deal of knowledge of all the great names involved, but it intrigued me nonetheless. Between that and the fact that it was sealed and had a song called "Disco Night" on it, how could one go wrong? Beginning her recording career as a folk singer, she recorded this reggae album in 1975 with Bob Marley and Lee "Scratch" Perry in Jamaica. While this album still seems to get mixed reviews, it's one I personally love and go back to again and again, with a much fuller appreciation these days. This song, written by Marley, is to my ears, one of its high points.

Paula Moore - On The Edge: One of the big record fairs here in Toronto had room of $5 records that I used to love going to. It's a frenzy, but one never knows what one will find there. This particular album, titled High and Low in most territories, retitled Valparaiso in Canada after its hit single, is one case in point. Produced by super-producer and Daft Punk dad Daniel Vangarde, it's not quite like the hits he made for Ottawan and The Gibson Brothers, opting instead for a more subdued synth-centred sound here. While the album is perhaps not consistent enough in my ears to to be a classic, there are nevertheless, several remarkable songs on it, this being one of them. Combining the synth sound of much of the album with a reggae beat on this track, the result actually sounds much more interesting than it seems on paper.

Liza Minnelli - If There Was Love: From Liza's 1989 Results album, produced by the Pet Shop Boys. I probably needn't say much more, but to my mind, one of the great producer-artist pairings of that moment. I remember as a young gayling, Results being presented to me as a key part of my education in queer culture. The drama and resonance of Liza's voice in this song and the Pet Shop Boys' production and notably Neil Tennant's sharp personal lyricism here summarizes, to my ears, why that partnership worked so well. One of the song's key verses: "Men of affairs, women with power, satellites talking, to clutter our lives. Banks of predictions, policies made, prophecies broken, violence deranged..." Words which feel perhaps truer now than they did then. Culminating with a recitation of Shakespeare's Sonnet 94, while there are a number of great songs on the album, this is perhaps the one I go back to the most.


CATEGORIES: DISCO DELIVERY MIXES, DISCO DELIVERY EVENTS, CAN-CON DISCO

Disco Delivery #30: Isaac Hayes Movement - Disco Connection (1976, HBS/ABC)

Isaac Hayes Movement - Disco Connection
Isaac Hayes Movement - Disco Shuffle
Isaac Hayes Movement - The First Day Of Forever
Isaac Hayes Movement - St. Thomas Square

Finally it's here!

I hadn't pulled out this album in a little while, until a reader recently asked me if I had the title track, which he had recently heard on the TV show "So You Think You Can Dance?" .. Despite the fact that I hadn't listened to it in a little while, it remains probably one of my all-time favourite instrumental disco albums, if anything one of my favourite Isaac Hayes disco efforts..

Isaac, who's contribution to the Stax label and the Memphis Sound has been well documented, was certainly no stranger to the disco either. From his seminal proto-disco, proto-rap "Theme from Shaft" all the way to "Moonlight Lovin' (Ménage á Trois)," "Don't Let Go," and "Shoot Your Best Shot," the latter produced for Linda Clifford, he was one of the most prominent R&B legends to make a serious transition to disco.. Although his mid-late '70's disco efforts were not often seen in the same light as his earlier efforts, there were some definite classics among them, some quite well known, others, like this one, that were rather overlooked..

An instrumental album released under the name of his backing band, the 'Isaac Hayes Movement,' "Disco Connection" was also to be one of the first Isaac Hayes albums that seemed to be aimed specifically towards a disco audience. Overall, it seems 1976 was Ike's "disco year." In 1976 alone, he would release a total of three albums; "Juicy Fruit (Disco Freak)," this LP and "Groove-A-Thon," all of them with something aimed towards the disco.

Apparently both this LP, along with the "Groove-A-Thon" album were released just weeks apart from each other, and just before the advent of the commercial 12" single, no less. By this time he had already left Stax and was on ABC under his own imprint, HBS (Hot Blooded Soul). Despite the hectic pace and his new and seemingly improved label situation, neither of the three LPs from that year would do as well on the charts as any of his previous. It seemed to signal the end of an impressive run on the Billboard charts where pretty much all, if not most of his albums ended up topping the R&B charts as well as reaching the top 20 of the pop charts. Although the charts on at allmusic.com don't indicate much action, the title track did however do a little something on the disco charts. According to the 1976 Billboard Disco Charts posted on the discomusic.com forums, the title track would stay on the disco charts for a total of five weeks and peak at #26 in January of that year. That said, the liner notes of the "Groove-A-Thon" reissue seem to suggest that perhaps both "Groove-A-Thon" and "Disco Connection" could have done better had they been promoted with 12" singles, so perhaps there were limitations there on the label's part. Regardless of all that though, in my opinion "Disco Connection" is perhaps a prime example of not only Hayes' genius, but of early disco at it's best; a mix of sophisticated funk combined with layered, rich arrangements and orchestration. In other words, an excellent example of that time where disco wasn't quite at full-throttle; where there hadn't yet been too many stylistic formulas applied to it. In my estimation at least, it was a combination that seems to have made that year a particualrly rich one in the disco era, creatively speaking.

The title track and "Disco Shuffle" are probably the funkiest and most disco-oriented of all the tracks on the album, with both selections anchored by dynamic horn sections and particularly in the latter, a heavy beat to go with it. One other notable attribute in "Disco Shuffle" are those meaty guitar licks, which are particularly engaging. Certainly one of the most effective uses (that I've heard at least) of this almost bluesy guitar sound in anything even remotely disco.. As far as the title track goes, one of my favourite elements of "Disco Connection" are those couple of great, ample wah-wah sections towards the middle and the end, giving the track a kind of signature Shaft-esque disco-funk edge. One could point out other distinctive attribute to "Disco Connection," which is in the fact that it is not held down, as one might expect, by any significant degree of bass, whether drum or guitar. It's beat is anchored by a much lighter, and much sharper (for lack of a better term) crashing beat. I'm not sure how exactly they got that kind of metallic, crashing sound; whatever the case, despite the absence of those bass elements, it's probably that same thing which sets it free in a way. It seems to give the track a certain lightness and dynamic edge, if you will. There's still that generous dose of funk, particularly in those wah-wahs and horns, yet there is also a lighter, faster, almost elegant dancefloor freedom about it that is uniquely disco.

"St. Thomas Square" and "The First Day Of Forever," are probably the two that showcase Hayes' melodic sensibility to the fullest, with both steeped in blissful, dreamy layered orchestration. "..First Day Of Forever" in particular showcases a particularly harmonious blend and interplay between the string and horn sections. As well, there is that beautiful flute in "St. Thomas Square," which progresses into an engaging, almost jazzy solo towards the end of the track. That said, neither of the two tracks would likely be considered a club stomper in any way, yet I for one just can't deny their engaging, melodic qualities. As much as they differ from the heavier, faster selections, they fit and compliment them perfectly. Taking the pace down slightly but not too much, still maintaining an engaging tempo, while giving some more room for those melodic, and orchestral (particularly in "..First Day of Forever") arrangements to shine through and work their magic.

From what I've come across, Hayes' brief association with ABC Records apparently came to an end with his filing for bankruptcy and a seemingly slow-selling duet album with Dionne Warwick. He would resurface in 1977 on Polydor with his excellent "New Horizon" LP which would yield classics like "Stranger In Paradise," "Moonlight Lovin' (Ménage á Trois)" and "Out Of The Ghetto" among others. His Polydor years, while not reaching the commercial heights of his Stax era, would yield more disco classics like "Zeke The Freak" and "Don't Let Go" to name just a couple. More recently Hayes has been one of the more prominent celebrity adherents of Scientology and not to mention his part as the voice of Chef on South Park. It seems 2006 has been, if anything, a full year for Hayes, with a mild stroke in January and subsequent pulling out if South Park, over being apparently offended by their lampooning of Scientology. His leaving the show was not without it's controversy, with reports and allegations that his leaving (largely reported by FOX gossip columnist Roger Friedman), coinciding with his recuperation from his stroke, were not so much of his own free will, but engineered by the Church of Scientology. Whatever the case, he has stood by his departure, saying "I just decided it was time to leave. For a time it was fun.. The fun ran out."

In addition to the controversy, 2006 also saw Isaac and his wife give birth to a new son and most recently saw the singing of a new record deal. Concord Music Group, who bought out the Fantasy label (which owned the Stax catalogue) in 2004, announced just a few days ago that it would be relaunching the Stax label in 2007 for it's 50th anniversary. Isaac Hayes and Angie Stone were announced as the first two signings to the relaunched label, so hopefully 2007 will see some new music from Ike himself. His last original album,"Branded" (1995, Pointblank/Virgin) was released over ten years ago now, so if anything, it's a return that's long overdue.

For a little something extra.. I just found a rare video of "Disco Connection" on dailymotion with Ike as conductor, or as Millie Jackson would say; "directin' the shit".. Even though the video is most likely staged, I always get a kick out of studio session videos like this. Helps one imagine all the more vividly just how the different musicians and sections work together, not to mention the sheer level of musicianship and coordination that it must have taken to put a track like this together..


Isaac Hayes - Disco Connection
Uploaded by Vladimir Nikšić

LINKS:
ISAAC HAYES MOVEMENT - DISCO CONNECTION LP (REVIEW) @ ALL MUSIC GUIDE
ISAAC HAYES @ ALL MUSIC GUIDE
ISAAC HAYES @ DISCOGS
ISAAC HAYES @ WIKIPEDIA
ISAAC HAYES @ DISCOMUSIC.COM
ISAAC HAYES @ DISCOMUSEUM.COM
mySA.COM - HAYES HAS PUT STROKE, 'SOUTH PARK' BEHIND HIM (INTERVIEW) (OCTOBER 26, 2006)
THE PULSE - YOU CAN DIG HIM: ISAAC HAYES INTERVIEW (DECEMBER 13, 2006)

CATEGORIES: DISCO DELIVERIES, VISUAL DISCO, WHAT EVER HAPPENED TO..

Disco Delivery #9: Karen Silver - Hold On I'm Comin' (1979, Quality/Arista)

Karen Silver - Hold On I'm Comin'
Karen Silver - Hot Stuff
Karen Silver - Make Me Feel Alright
Karen Silver - Can't Stop Dancing

Ever since I started this blog, waaay back in January, I've gotten some suggestions about artists and songs to cover; one of the names that has come up a few times was Gino Soccio, so I figured now would be a good time to do a post on one of his productions.. Aside from his own solo efforts, Soccio was involved in quite a few disco projects in the late '70s like Bombers, Kebekelektrik, Witch Queen and even hockey star Guy Lafleur(!) to name a few. Another one of his major outside productions was Karen Silver.. Silver was a Toronto based singer who was previously a vocalist on the John Driscoll disco project Star City. Their big single was a cover of "I'm A Man," a song which had been covered at least two other times during the disco era, most successfully by the Petrus/Malavasi-produced group Macho.

This Karen Silver album was co-produced by Soccio and Star City producer John Driscoll, but Soccio's unique electronic stamp is (at least to me) what is most striking about the sound on this album. The lead off single and title track "Hold On I'm Comin' " is an excellent cover of the 1966 Sam & Dave hit; taking the R&B classic and turning it into a euro-style driving, pulsing, electro-disco experience. Soccio's style is especially obvious on this track in the sharp, minimalist synth sounds and slight rock influence on the breaks.. This version, in my opinion, does what an excellent cover version should do; take the original song and bring it into a completely different context, a kind of reinterpretation in a way. It's the sort of thing that many of Grace Jones' efforts succeeded so well in doing, and one of the reasons why this, so far, is one of my favourite Gino Soccio productions.

The other cover included here is a version of Arista labelmate Ray Parker, Jr's "Hot Stuff," originally on his group Raydio's "Rock On" album (also from 1979). This one is also quite synth driven, especially compared to the funk workout that the original was. Even after I heard the original, this version reminded me more of Donna Summer's "Bad Girls," with it's similar tempo and those guitars in the background..

"Make Me Feel Alright" was a slight change in tempo on the album; a sort of dark, slow-burning disco track; with those minor chords and pleading vocals on the chorus, it has an almost dizzying, desperate tone to it. Strangely enough, this is also another one of those tracks that was part of my introduction to disco, way back on my parents' old disco 8-tracks. I say strangely because I'm not even sure whether this was a single, but nevertheless still have fond memories of this one.. The last selection, "Can't Stop Dancing" is a bit of change in tone, a little less darker than the other tracks. The lyrics are minimal for sure, but catchy.. "(boogie nights) all night.. can't stop dancing!." Can't go wrong with a disco song about disco itself and dancing all night. A much more prominent bassline on this one and a hot sax towards the end, one of those instruments which seems so under used these days..

Even though "Hold On.. " managed to peak at #15 on the Billboard Disco Charts; somehow none of the songs off this album managed to cross over, nor did the album make any of the charts in the US. I'm not certain how this did here in Canada, but Arista in the US probably hoped for better. Karen Silver would release another album a couple of years later called "Set Me Free" (1981, Quality/RFC) produced solely by Gino Soccio this time, but with more new-wave and funk influences. Her biggest hit, "Nobody Else" would come out of that album. She would release some stand alone singles after that, including another Gino Soccio produced cover, this time of Betty Wright's "Clean Up Woman." Unidisc has put most of her material on a compilation CD also called "Hold On I'm Comin'" using the cover shot from her "Set Me Free" album. I don't have it yet, but I hope to one of these days..

Also, one last note about the files.. I just installed a new sound card on my PC so I can rip some of my vinyl properly. Unfortunately, the original built-in sound card on my PC seemed to only record in mono, which is probably why my last rips turned out a little muddy.. Anyway, these files above are my first rips using this sound card. I'm just sort of getting the hang of things, but hopefully these sound allright for all of you out there..

LINKS:
KAREN SILVER DISCOGRAPHY @ DISCOGS
KAREN SILVER @ DISCOMUSEUM.COM
GINO SOCCIO @ DISCOMUSEUM.COM
KAREN SILVER - HOLD ON I'M COMIN' LP @ DISCOMUSIC.COM

PURCHASE:
KAREN SILVER - HOLD ON I'M COMIN' (COMPILATION) CD @ AMAZON.COM

CATEGORIES: DISCO DELIVERIES, CAN-CON DISCO