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maandag 21 april 2008

Chris Mick Davies



I have no idea about this record. It is from 1979. Google did not give any interesting hits on Chris Mick Davies (only someone selling the record). It is produced by Chrisland and Luc Seguera, for C. Land Music. The executive producers are Chris Mick Davies and Mick Swirid. Recorded and mixed at Ferber Studios Paris 1979.
Sound engineer Paul Semana. Assisted by Philip Claude Yves.
Lyrics by Mick Swirid and Myriam Chalkitis.
Piano played by Chris Mick Davies on Don’t You Cry, I’ve Gotten To Love You and Desperate Lady.
Backing vocals : Carol Fredericks, Ann Calvert, Arthur Simms(*), Chris Gerrard and Mick Swiridstein.

(*) Arthur Simms, from the John and Arthur Simms album is known for his contributions to Alec R. Costandinos / Don Ray productions.
I have also posted another record of Chrisland, a record which was arranged by... Donray (Don Ray).


* Chris Mick Davies - Desperate Lady.MP3

Chrisland (arranged by Don Ray)



From 1977
Arranged By - Don Ray
Composed By, Producer - Chrisland
Engineer - Linsey Mike , Patrick Chevalot
Engineer [Assistant] - Yves Coali
Engineer [Mixdown] - Rene Ameline
Photography - Jack Touroute
Recorded at Feber Studios and Morgan Studios London.
Mixdown at Feber Studios.


Hardly any information found on this album. The only reference I could find is that Chrisland is also found on the album of Chris Mick Davies.


* Chrisland - Angela, Angel.MP3

Joel Diamond Experience





Growing up in Passaic, New Jersey two things were important to the young Diamond, ham radio and American Bandstand. Both would influence the eventual outcome of his life and career. Before they could alter his destiny he graduated from Rider College and joined the family business selling insurance. While racking up record breaking insurance sales by day, the young Joel was warbling hits by night at the local Holiday Inn. It didn't take long for his career decision to be made.
Joel began his music industry career in 1969 by heading up MRC Music (the publishing arm of Mercury Records). He scored his first #1 success with "This Girl Is A Woman Now," as recorded by Gary Puckett and the Union Gap. He followed that with Steam's #1, "Na, Na, Hey, Hey," and the Supremes/Temptations duet of "I'm Gonna Make You Love Me."
While heading MRC he recruited virtual unknowns at the time such as: Janis Siegal, (of The Manhattan Transfer), Phil Cody, (who would later write numerous top ten hits with Neil Sedaka), Don Oriolo, (the force behind Lisa Lisa's fame), artist Benny Mardones, (who scored his #10 record twice with "Into The Night"), songwriter Alan Bernstein, (who penned Engelbert Humperdinck's #1 record for Diamond, "After The Lovin';"), Robert Flax, (who is Senior Vice President of EMI Music International), and last, but not least, Diamond's #2 man and assistant, Tommy Mottola. Mottola, who with Diamond's help, landed his position at Chappell Music, which in turn afforded him the opportunity to launch the careers of Hall & Oats. Mottola is the current President and CEO of Sony/CBS Entertainment Group.
Clive Davis, founder and former President of Arista Records, then President of CBS Records, became aware of Joel's achievements. Clive hired Joel as the head of the CBS Music Publishing Division (replacing super-star Tony Orlando, who was then riding the crest of his second #1 record with Dawn) over seeing the New York, Los Angeles, and Nashville offices. Joel was also part of Clive's personal A&R staff at CBS Records.
It was during this period of Diamond's music publishing career that he had the opportunity to work closely and build long-lasting relationships at every level with gifted songwriters, producers, managers, studio owners, attorneys, and record company heads. Many of whom are today's giants in the music industry.
While at CBS he began his successful career of publishing/record signings with an unknown group, Dr. Hook & The Medicine Show. Dr. Hook would ultimately scored 62 gold and platinum records worldwide. His second signing was that of two brothers who had written "Never My Love," which not only achieved the #1 position three different times by three different artists, but also just recently received an unprecedented 6 Million Performance Award from BMI. The Addrisi Brothers, thanks to Diamond, now had their first #1 record as recording artists as well as writers entitled "We've Gotta Get It On Again." Mama Cass Elliott's last top 10 record, "Move In A Little Closer," hit the charts during this era and is currently owned by his publishing company.
After several successful years at CBS, an offer for Joel to establish and run his own record label came from Polygram International. He used this opportunity to produce records for his own label, as well as outside labels. This was also the birth of his currently successful publishing companies Silver Blue and Oceans Blue Music Publishing, as well as the creation and inception of Silver Blue Records, and Silver Blue Productions.
Gearing his label early on toward R&B/Disco, he scored no less than 27 chart successes, including several Billboard #1 R&B singles. Silver Blue Records signed the late Van McCoy as an exclusive artist, while also purchasing 29 Van McCoy copyrights at the same time. Enjoying the art of producing, he carried it one step further by creating his own sound with himself as the artist.
"Silver Blue" debuted in 1977 with the single "We Got Love On Our Side" which is not on their 1978 album. Their album was an instant club success. The controversial cover featured a dapper Diamond as a svengali-esque master with two disco diva slaves, (pre Robert Palmer video), on leashes. Inside was a rehashing of old rock hits and popular standards done ala disco. The album did well and brought him out from behind the desk and introduced him to the club-goers who would remain his biggest audience. There were several 12 inch releases from the album. Only the 12 inch of Light My Fire was different from the album version. The other 12 inch releases of Tennessee Waltz and others were not different.
A move to the premier disco label, Casablanca, in 1979 brought us "The Joel Diamond Experience" album. The cover, once again, featured Joel and two disco divas riding a harmonica to ecstasy. So the man had bad taste in album covers, let's not let this diminish his obvious talents. The album produced the classic 12" single "Tall In The Saddle." Other cuts that were programmed were: "Music Machine," "Just As Long As I'm Dancing" and "I'm Only Human."
He then had a top 50 single Billboard hit, "Theme From Raging Bull" on Motown, followed by an independently distributed album entitled "Joel Diamond’s “House Gold.” A final release came in 1982 with his 12" single of "Super Strauss" on Atlantic Records. The record has since become somewhat of a late night classic.
An advanced copy of a song from a forthcoming Broadway Show, "La Cage Aux Folles," given to Diamond by good friend Allen Carr, would be another turning point in Diamond’s career. In a matter of days upon hearing this song, he was in the studio to produce “I Am What I Am” for recording artist Gloria Gaynor. It became an instant international success on Silver Blue/CBS records, and was also the linchpin for the return of Joel to CBS, except this time with his own wholly owned record label.
The show “Chess” had just opened to rave reviews in London and Diamond was quick to get his hands on an advance soundtrack, and responded to only one song in the entire show, “One Night In Bangkok.” He promptly coordinated a recording session, and rushed successful NY model (and part-time singer) Robey into the studio. Once again, his instinct was correct, and the result was Robey’s first top ten record for Silver Blue/CBS and the second 12" single hit for his label.
A third 12" single for the label came from the remade movie "Where The Boys Are." The title track was recorded into a hot dance mix by none other than Liza Minnelli's kid sister Lorna (Luft). Once again Diamond's label scored another major club hit and cemented it's place in disco history.
Diamond has continued on in the 1980's and 1990's as one of the industries' most active men. Besides his many publishing projects he has also gotten involved in film and television work. His projects have included the films; "Continental Divide," "Paradise" and the T.V. show "Brothers" among many. A film director in search of authenticity (for what turned out to be a critically acclaimed movie) gave Joel an opportunity to stretch his talents even further. Diamond co-starred with Ruben Blades and Elizabeth Pena in "Crossover Dreams." The film portrays Joel Diamond a/k/a Neil Silver giving a break to a Latino recording artist, Ruben Blades a/k/a Rudy Velez, and successfully crossing him over from the Latin market into the American market. A role he was a natural for.
People who know Joel well, will be quick to reminisce about his adventures of 22 years in New York City, residing in his (entire) top floor Central Park South Penthouse, complete with elevator opening right into the apartment. This was certainly enhanced and complimented (or complicated) by Joel becoming the only "Bachelor of the Month" to ever appear twice in Cosmopolitan Magazine (resulting in over 4,000 letters), his legendary New Year's Eve parties, and his dinner parties which always included a very eclectic and achievement driven group of people from all walks of life.
Joel now leads a very different, but yet very fulfilling lifestyle. Recently divorced and once more single, he resides in his multi acre gated estate, tucked away deep in the hills of Calabasas, CA.
As for Joel Diamond on those pictures, does he not look like a combination of Rod Stewart and Barry Manilow ?





* Joel Diamond Experience - Music Machine (In And Out).MP3

Silver Blue




"Silver Blue" debuted in 1977 with the single "We Got Love On Our Side" which is not on their 1978 album. Their album was an instant club success. The controversial cover featured a dapper Diamond as a svengali-esque master with two disco diva slaves, (pre Robert Palmer video), on leashes. Inside was a rehashing of old rock hits and popular standards done ala disco. The album did well and brought him out from behind the desk and introduced him to the club-goers who would remain his biggest audience. There were several 12 inch releases from the album. Only the 12 inch of Light My Fire was different from the album version. The other 12 inch releases of Tennessee Waltz and others were not different.
This is a Joel Diamond production.



* Silver Blue - Tennessee Waltz.MP3

Texico




Texico appears to have released only one record. How can we best describe it ? The best way would be as Jumbo (song Turn On To Love) meets Jo Bisso. A heavy male voice on a disco beat, with long instrumental breaks. Apparently, this is a rare album.
From 1977 on Saga Records
Arranged By - G. Salesse , M. Camison
Engineer - Patrick Chevalot (*)
Producer - Phil Dufix

(*) Patrick Chevalot was also the engineer to Angela, Angel, which appears on the album Chrisland, which I have recently posted.

As a side-note, for those interested in the name… I found this on wikipedia :
The name is a portmanteau of "Texas" and "New Mexico". Texico is located on the Texas-New Mexico border. The town of Farwell, Texas borders Texico on the other side.
Texico (62889 - also called Field) is also a village in Jefferson County, Illinois. Kent, do you know this village ?


* Texico - I Wanna Be With You.MP3 (12:39)

Carolyne Bernier




The Canadian chanteuse is an early protege of Canada's famed producer Tony Green. Green achieved success with his work for Geraldine Hunt, Freddie James and of course, France Joli. His 1977 album with Carolyne however was not nearly as successful.
"Carolyne Bernier" was picked up for American distribution by Private Stock Records. The album featured a stunning 16:40 track on side two of "Secret Agent Love." Side one had the memorable tracks: "Dance With Me, Danse Avec Moi," a late-night sleaze number, and the mid-tempo "Hold Me, Touch Me." The latter was released as the American 12" single with an instrumental on it's b-side. The album also contained a throw away version of the Motown classic "My Guy."
The album is also noted for being orchestrated by Denis LePage (Lime) and recorded at Markos Studios. The same studio that would bring us Carol Jiani's mega-smash "Hit And Run Lover" a few years later. Carolyne co-wrote two of the tracks with Tony Green and supplied the backing vocals.
After it's American failure Carolyne did not have another U.S. release. In fact by the time of disco's boom years Carolyne was gone from the scene.

If you listen carefully to Secret Agent Love, you may hear some I Feel Love synths (around 7 till 13 minutes in Secret Agent Love and throughout the 12" of Love).


* Carolyne Bernier - Secret Agent Love.MP3

Joy Fleming



Joy Fleming is a big (in more ways than one) recording artist from Germany. Born in 1944 in Rockenhausen, Rheinland-Pfalz, she still records CDs in Jazz, Blues and Schlager styles.

She first came to the attention of the rest of Europe when she was Germany's entry in the 1975 Eurovision Song Contest, singing "Ein Lied kann eine Brücke sein" coming third from last. Her over-the-top performance is still shown on Eurovision retrospective programmes in the UK as an example of Euro-trash!

She teamed up with Pete Bellotte to record a disco LP, which is actually rather good. All tracks are uptempo, including the side long The Final Thing. "I only wanna get up and dance" was also recorded by the Raes in Canada.


* Joy Fleming - The Final Thing.MP3

Paris Casablanca



The title track is the most appealing.

Disco cover versions of Mamy Blue, and the Spencer-Davis Group's "Keep on running" also appear on the LP.

From 1979
Produced and arranged by Philippe Renaux & Rachid Bahri for Delta - Pianola Communications
Lead vocals:
Joe Scott (A1, B1)
Claudia Polley (A2, B2)
Ann Calvert (A3, B3)


* Paris Casablanca - Dancing In Cairo.MP3

Dance Reaction - Disco Train (2008 remix)




E-Man In the Mix.







Frank Sauter was a record shop owner in Turnhout, Belgium. He released this track, but soon came in legal trouble because the song is based on Dan Hartman's Vertigo/Relight My Fire. "Disco Train" is a haunting Euro Disco song at its best. Grab this single if you can find it.

From 1981.
Producer : Frank Sauter
Written-By : Andy Free, Jean Kesteman

* Dance Reaction – Disco Train (E-Man 2008 remix)

The Joe Long Sound



Joe Long, he always went by Joe (short for Joseph), lived in the Hollywood and Studio City, CA area. His mother was Josephine Long and she had two sisters. One of his best friends and roommate (also listed in the credits of most of the albums) is Andrea (Andy) Krause. I believe she is still somewhere in San Fernando Valley, CA area, probably around Simi Valley.

Joe Long was involved in many projects :
Midnight Rhythm
Liquid Gold
Hallelujah 2000
Patrick Cowley’s Megatron man
Love At First Bite
Westside Strutters

And this O Holy Night.


O Holy Night dates from 1979. Produced by Joe Long and orchestrated by Charles Merriam.

On most of the projects he was the producer.



* The Joe Long Sound - O Holy Night.MP3

Plastic Surprise






From 1980.
Arranged By - Eddy Strauman (was also involved in the production of Nightlight Unlimited first LP and the album of Tangerue)
Percussion - Miguel Fuentes (also involved in Nightlife Unlimited and Tangerue, furthermore contributed to Hi Gloss, The Jones Girls, African Suite and many more)
Producer - Peter Dimilo (involved with Nighlife Unlimited, Ann Joy, Erotic Drum Band, M, Extensive Care)
Vocals - Barbara Ingram , Carla Benson , Yvette Benton

Vocals by The Sweethearts of Sigma aka The Philadelphia Angels, The Sweethearts or the Sweeties. The trio sang backing vocals on numerous Philadelphia-based recordings during the 1970s and early 1980s. They were also part of John Davis and the Monster Orchestra. The trio consisted of :
- Barbara Ingram : Singer and songwriter, born in Camden, New Jersey. Cousin to Carla Benson. She was also a member of Ingram, a band that consisted entirely of Ingram siblings. Barbara Ingram passed away in October 1994.
- Carla Benson : Singer, born in Camden, New Jersey. Cousin to Barbara Ingram.
- Yvette Benton : Singer. Friend to Barbara Ingram and Carla Benson. She was also in MFSB and The Salsoul Orchestra.
They sang on records like : Grace Jones (Fame, Muse), Gaz, Evelyn "Champagne" King (Smooth Talk), Loleatta Holloway, The Stylistics and many more artists.

Barbara Ingram was born the second of nine children to Reverend N. Henry and Vera Ingram of Camden, NJ. Their family was large and built on a foundation of faith and love. Music was an integral part of the Ingram family, so it was no surprise that Barbara pursued a career in music.


In the early 70s, during a conversation with her friend, Thom Bell, Barbara learned of a new record label starting up in Philadelphia. The label was seeking session singers. She had just completed a brief stint as a Raelette and was hoping to find vocal work in her hometown. Barbara called her cousin, Carla Benson, who was studying voice at Glassboro State. Carla suggested her best friend, Evette Benton, a special education major, to complete the trio. The three put together an impromptu audition, drove to Philly, and the rest is history. Producer after producer came into the studio that day to hear what later became known as the “Godblend.”
Their first session was “Pool Of Bad Luck” with Joe Simon. Since then, they have appeared on thousands of recordings with countless artists -- from Lou Rawls to MFSB to Englebert Humperdinck. These talented ladies were dubbed “The Sweethearts of Sigma,” “The Philadelphia Angels,” “The Sweethearts,” and finally “The Sweeties” by Patti LaBelle, with whom they toured extensively. The Sweeties can be seen on Patti’s 1985 NBC-TV special, as well as a “Sesame Street” appearance with Patti.
One of Barbara’s more memorable appearances on record was as the sensual voice on Major Harris’ hit “Love Won’t Let Me Wait.” She was Teddy Pendergrass’ love interest in “Come Go With Me.” She recorded and performed with her brothers in the family group “Ingram;” and with her fellow Sweethearts, released a 12” in the mid-80s on the Streetwise label entitled “You’re Wearing Me Out.” Barbara also wrote and produced for many others.
Barbara struggled with lupus for many years. However, she rarely missed a beat -- music was such an important part of her life. But even more important than music was family. Barbara adored children. Whether at home in New Jersey or Virginia, children would surround her and that’s when she was happiest.
Barbara was predeceased by her husband, songwriter/producer Sherman Marshall (“Lady Love,” “The Whole Town’s Laughing at Me”), and her daughter, Denene.
She touched many lives before she entered into her eternal rest in October 1994. She will forever be missed.









* Plastic Surprise - Bang Bang (You Got The Money) + Disco Express.MP3

Fantasia featuring Peggy Santiglia




Peggy Santiglia was born May 4, 1944 in New Jersey. A born performer, she discovered her love of singing at an early age. Peggy wrote and performed with two school friends as The Delicates while in junior high school. During sock hops she would often see a rival girl group comprised of sisters Barbara (Bibs) and Phyllis (Jiggs) Allbut and Linda Jansen, local teens known as The Starlets. They met, hit it off, and a unique sound emerged as Jiggs, Bibs, and Peggy began to record together as background singers for notables such as Neil Diamond, Jackie Wilson Anthony Newley, Bob Gaudio and Frankie Valli of The Four Seasons, Quincy Jones, Don Costa, Alan Lorber, Lee Holdridge, Artie Butler Steve Lawrence and Eydie Gorme, Patty Duke, Lou Christie and Frank Sinatra, and countless others.
Jiggs, Bibs and Linda formed the Blue Angels and began to record. They recorded the standard "P.S. I Love You" on the local Astro label. It stalled before entering the national charts, but the persistent girls were soon back, this time at Caprice Records with a demo of another oldie, "Till." The beautifully crafted single, backed with "A Moment Ago," soared to a lofty position on the Billboard Pop Charts in 1961. With a number 14 hit, the Blue Angels were on a roll.
The follow-up was the equally strong, "Cry Baby Cry," which landed at number 38 the following year, but despite two top forty hits to their name, The Blue Angels star soon burned out. The departure of Linda, who up to this point had been lead singer, coincided with a chart slump. Peggy then joined, first fulfilling her commitment to United Artists, and to Don Costa, arranger-producer of The Delicates recordings including "Black and White Thunderbird," "The Kiss" and "Too Young To Date." The girls in the early 1960's were finishing high school, recording and preparing their act for live performances when "My Boyfriend's Back" hit---and hit big. Jiggs and Bibs called Peggy, who was vacationing with her parents, to say "Come back now, it's a giant hit!" Why were they so excited? Why was this so different? The Angels had after all, hit high on the charts with "'Til" and "Cry Baby Cry," but this time something was quite different. The Angels received nationwide attention for the sensational million selling record "My Boyfriend's Back" as definitely one of the more graphic teenage statements of that time. The record took the industry by storm and set a style, pace and sound later emulated by up and coming female groups.
A series of well crafted singles were released over the next two years but none could replicate the success of "My Boyfriend's Back." Smash Records dropped the girls and they went back to studio session work until they scored the top spot of the charts behind Lou Christie's 1966 hit "Lightnin' Strikes." They were then signed to RCA Records for six singles, none of which scratched the charts. Disillusioned and ready to pursue "normal" lives the girls called it quits.
Peggy went on to staff writing for April Blackwood Music, NYC -- penning songs such as "Beggin'" which reached #11 on National Charts, and "September Rain" with Bob Gaudio for Frankie Valli. She also toured and recorded with The Serendipity Singers in the late 1960''s recording one album called "Love Is A State of Mind" with the "Dips"---as the Serendity Singers jokingly referred to themselves. She then went on to record as Dusk, the female counterpart to Dawn, for former Token member Hank Medress, the producer for Tony Orlando and Dawn. As Dusk, Peggy had two chart records, "Angel Baby" and "I Hear Those Church Bells Ringing." "Church Bells" neared Top 40 nationally and reached Top 10 in some statewide markets.
In the early 1970's they reunited to cash in on the sixties revival, and recorded "Papa's Side Of The Bed" as a Polydor single in 1974. Peggy then ran into an old friend from the Angels earlier years, Gary Criss. Criss had a string of successes, both as a solo artist and as part of Glass Bottle, and was well known on the east coast. Criss was coming of of a monster disco smash and brought Peggy to his producer Billy Terrell. Terrell agreed to record Santiglia and set about putting together what would become the 1978 album "Sweet Sweet City Rhythm" by Fantasia featuring Peggy Santiglia. The album is one of disco's most overlooked treasures. With disco's elite behind the production it's no wonder it's a masterpiece. Craig Snyder was responsible for rhythm arrangements while John Davis (Monster Orchestra) arranged horns and strings. Gary Criss and Billy Terrell wrote most of the album with Ray Dahrouge kicking in a song. Richie Rivera put the finishing touches on it with his famous "Midnight Mix." The side-A medley of "Fantasia/Carnival" is the key track, reminiscent of Criss' own Brazilian sounding hits, it's a wild jungle ride with Peggy's soaring vocals. However T.K. Records released a 12" of "Sweet Sweet City Rhythm/Summer In The City." And though it too is good, it lacked the punch that was needed to sell the album. Oddly enough most people did not recognize the name Santiglia at the time and had her affiliation with the Angles been played up it too might have helped the album.
Peggy and Jiggs still performed in 2004 (I do not have any reference whether they still perform today). A successful Grammy appearance, an unauthorized made for television movie entitled "My Boyfriend's Back," (The group in the movie was fictionally named The Bouffants, although the movie was based in part on the Angel's career) and numerous live engagements continue to keep The Angels in the forefront of early pop/rock artists. They still include "My Boyfriend's Back" in their show to delighted fans, as well as a host of other hits of the genre.

From 1978.
Produced by Bill Terrell for Amazon Productions.
Mixed at Sigma Sound, N.Y.
Mixed by Richie Rivera
Midnight mix by Richie Rivera.
Recorded at Alpha Int. Rec. Studio, Phila., Pa. & Sigma Sound, Phila., Pa.
Arranged By [Rhythm] - Bill Terrell , Craig Snyder
Arranged By [Strings, Horns] - John Davis




* Fantasia featuring Peggy Santiglia - Sweet Sweet City rhythm + Summer In The City Medley.MP3

Love Fever



From 1978 on Vogue.
Arranger And Conductor: Horst Lubitz (who also produced Hot R.S. version of House of the Rising Sun)
Recorded in Studio-Hamburg Germany
Sound Engineer : Horst Grosse
Assistant Sound Engineer: Christa Rentsch
Produced By: Horst Lubitz for Starbox ApS


* Love Fever - Love Fever.MP3

Cloud One



The New-York based studio-bound disco unit Cloud One made its debut in 1976 with the spectacular "Atmosphere Strut," a drifting, blissed-out nugget of underground disco that featured a repeated female vocal refrain of "We're Gonna Fly/Fly away." More importantly, what made the song stand out from everything else released at the time was the wild synthesizer line from producer and arranger Patrick Adams, who, as with dozens of other short-lived disco acts shamelessly chucked into obscurity, helmed the group. You'll never have heard anything quite like those synths. The nine-minute single was also the inaugural release on P&P, the first of several small labels run by Adams and partner Peter Brown.

Several Cloud One singles followed throughout the late '70s on P&P-affiliated labels, such as Queen Constance, Golden Flamingo, Heavenly Star, and Sound of New York. The Atmosphere Strut LP, released in 1976, compiled some of the group's 12" material (the LP included a seven-minute edit of the dizzying "Disco Juice," another Adams classic). Funky Disco Tracks of Cloud One, an EP, was issued in 1978. A second LP, called Happy Music, appeared in 1979. Another Cloud One gem that's worth mentioning is "Patti Duke," a spacy number full of bizarre Moog manipulations and clusters of hand percussion that, when sped up, would probably sound like one of the hottest go-go tracks ever recorded.




* Cloud One - Jump, Jump, Jump.MP3

Flower



Knock-out Latin model / actress Flower had a great Disco song with "How" in 1978. "How" was from the album "Heat" which was released in 1979 and produced by Richie Rome (a. k. a. Ritchie Rome). Rome is best known for putting together the Ritchie Family. Why he goes by Richie and Ritchie is beyond me. (maybe some days he likes "t" and other days coffee ?) She later had a track on Montage called "New York" produced by Joe La Greca.


* Flower - Midnight Dancing.MP3

Pattie Brooks





Born in Ft. Riley, Kansas to a career Army man and his wife, Pattie spent her childhood in many American cities and in Europe, including living in Hiedelberg, Germany for four years as a young child. Always interested in music and singing, Pattie admits that opera was her first love: she related to opera sopranos because her own singing voice was "high," and was coached in opera for three years -- before switching to jazz. Listening to Ella Fitzgerald and Nancy Wilson records, Pattie learned to "scat" -- then switched to R&B and pop music. Now Pattie was listening to Aretha Franklin, Janis Joplin, Chi Coltrane, Chaka Khan... all the while realizing that, although experimenting with vastly different music genres, somehow her own style was evolving. Knowing that being a telephone operator was not what she saw herself doing for the rest of her life, Pattie’s first professional break came in 1968 when she read an audition notice in the newspaper -- and then dared to audition for the chorus on "The Smothers’ Brothers Comedy Hour" television series. Pattie was hired on the spot, backing guests like Harry Belafonte, Nancy Wilson and Bobby Darin. Pattie then joined Henry Mancini’s "Young Generation" as a singer/dancer and began her first experiences touring the country.
Pattie's career has led to her to appearances singing and dancing on such shows as: "The Pearl Bailey Show," "The Bobby Darin Show," "Soul Train," "Dance Fever," "American Bandstand," "Dinah Shore," "Merv Griffin" and "Sanford and Son." Then Pattie set her sights on the big screen and secured a gig in "Cleopatra Jones," doing all the vocal over-dubs for Brenda Sykes, and was briefly featured in the movie.
In the midst of her television and movie work, Pattie was also singing on demos for A & M Records, and recording background vocals, for other singers. She can be heard on albums by Jaye P. Morgan, Randy Crawford, King Harvest ("Dancing In The Moonlight"), Bill Medley, Diana Ross, G.C. Cameron and Syreeta, Jermaine Jackson and Dorothy Moore. Pattie and Petsye Powell toured as Helen Reddy’s backup group, and Pattie and Randy Crawford provided back-up for J.P. Morgan -- who allowed Pattie and Randy to perform solos on her shows.
Pattie has also performed on the TV shows: "Tonight with Johnny Carson," and "Don Kirshner's Midnight Special" and with mega-stars Ann Margaret and Donna Summer. Realizing her talent and professionalism, Ann Margaret, Donna Summer and various TV shows also hired Pattie to "contract" other singers -- Pattie auditioned, hired and supervised other professional vocalists and produced tight vocal groups for TV shows and tours.
From Ann Margaret, Pattie learned professional stamina, timing and what it takes to be a star: "Ann Margaret taught me that you can be a great singer and a great dancer, but if you haven’t got charisma, it’s not going to happen," Pattie said, "and people know when you’re copping out. But if they see you up there and you’re giving your all, they’ll be right there with you."
Pattie sang on Donna Summer's "I Remember Yesterday" album and contracted the other singers. Even before she was signed to a label, Pattie was writing material to give to Donna and recalls that Donna said, "Just wait: they’re going to record you." Pattie continues that, "One of my songs ("Is This A Set Up?") I gave to Donna to sing, but when she heard it, she smiled at me and said, ‘What about you?...’". "Is This A Set Up?" ended up on "Pattie Brooks."
Another person also noticed Pattie’s potential, producer Simon Soussain. He signed her to a contract, and the result was the No. 1 club hit, "Love Shook" (backed by the Simon Orchestra) and released on the album of the same name on Casablanca (1977). Pattie was signed to Casablanca from 1977 - 1982, and also released "Our Ms. Brooks," "Party Girl" and "Pattie Brooks" before joining Mirage Records and releasing "In My World."
Her platinum records include Pattie’s own mega dance hit single, "After Dark," which was featured in the movie, "Thank God It’s Friday" starring Donna Summer; background vocals on "Opposites Attract" for Paula Abdul (Virgin Records) and Rick James and Teena Marie’s "Fire and Desire." She also sang the theme song, "Close Enough For Love," for the movie, "Agatha," starring Dustin Hoffman and Vanessa Redgrave.
Pattie has also recorded with Glen Campbell, Dusty Springfield, Olivia Newton-John, Thelma Houston, Paul Jabara and countless others. Her training has included Los Angeles Valley College (Drama) and Tepper & Gallegos (TV Commercial Workshops). She presented a highly acclaimed "One Woman Show" at Studio One's Backlot. Pattie’s work as a writer and composer has been featured on film and television soundtracks including "Dr. Detroit," "Boone," and "16 Candles."
With legs that never quit (Pattie’s even done leg commercials for TV!), Pattie Brooks is a dedicated artist with a very distinctive style.


Pattie Brooks also appeared on :
Thank God It's Friday
Winds Of Change by Alec R. Costandinos
Keeping Time by Paul Jabara







LOVE SHOOK



* Pattie Brooks and The Simon Orchestra - Love Shook.MP3


OUR MS. BROOKS



* Pattie Brooks - After Dark.MP3

Bob-A-Rela



Bob-A-Rela (Bob A Rela) was another George Lagios and Pat DeSerio production. While this album as a whole is not the best, "Why Does It Rain" and "Spend the Night" are easily worth checking out.

From 1979.
Engineer - Billy Szawlowski , Ian Terry
Engineer [Assistant] - Mark Lashchuk
Producer - George Lagios , Pat DeSario (both were also behind The Bombers LPs)


* Bob A Rela - Spend The Night.MP3

Venise - Love Is The Real Thing



Interesting and quite rare LP from female duo Venise, produced by Jo Bisso, which contains 4 great dance tracks, and possibly the cheesiest ballad you will ever hear on a disco album!
The best track is "Love Is the Real Thing", which you will find yourself singing along to in no time.
Of greater interest to European readers is the track "The Mystery With Me" (on the cover wrongly spelled as "Mistery"), clearly sampled for the 2001 house track "Bel Amour" by Bel Amour, which got to number 23 in the UK pop charts. On this track, the girls sound a little like the Three Degrees circa 1978, and the backing track sounds a lot like Martin Circus's "Disco Circus".
The soppy ballad "If You Believe" starts with the lyrics "Do you believe in fairy tales, do you like puppy dogs with waggy tails..." need I say more?
Also of note is the LP cover - the budget was apparently quite low, as the photo of the singer was clearly cut out from a piece of paper and stuck on to a "disco lights" background!

From 1978.
Produced by Jo Bisso.
Recorded in Boston at Intermedia Sound Studio by Bob Schott.
Mixed in Paris, France, at Studio Damien by Dominique Do Espirito Santo assisted by J.P. Martin.
Vocals by Sharon Chriswell, Linda Henderson and extra vocals by Pamela Wood Fraley.


* Venise - Love Is The Real Thing.MP3

Jo Bisso



I know little about this artist, who released several albums and produced Venise's The Best Disco in the City. He released the albums on his own record label Jobiss. The songs were recorded in Boston and mixed in Paris. Since the male voice has a slight French accent, I would assume he is a French artist (also his record label seems to be based in Boulogne, France.)
Some songs are what you can call very erotic. I wonder how they recorded those in the studio... Listen to Love Somebody and Play Me, it is as if the girls are having an orgasm...


1978 - LOVE SOMEBODY


Produced by Jo Bisso
Recorded at Music Designers Studios, Boston by Joe Chiccarelli and Steve Zaretsky.
Mixed at Studio Damiens Paris, France by Dominique Do Espirito Santo
Vocals by : Claudia Ferrari (featured on Side 2), Tina Klein, Sharon Criswell, Linda Henderson (Sharon and Linda were also in the production of Venise)
My copy is on Marlin.

* Jo Bisso - Love Somebody part 1.MP3


1978 - MADEMOISELLE


Produced by Jo Bisso.
Recorded in Boston at Intermedia Sound Studio by Bob Schott.
Mixed in Paris at Studio Damiens by Dominique Do Espirito Santo.
Vocals by : Pamela Wood Fraley, Ava Agnes, Messi M'barga, J.P. Martin, Linda Henderson and Sharon Criswel. On Play Me, the vocals were by Marie Louise Chaubo.
My copy is on JoBis International Records.

* Jo Bisso - Play Me (medley Desires, I Wanna Love, You Are Loving Me, Burning).MP3

Don Downing - Dream World




Big Al Downing and Don Downing are brothers. Besides sharing parents, the two also had early club hits. But the similarity ends there. Al was born in 1940 in Oklahoma and Don was born in Texas, although I'm not sure of the year, it is presumed that Don is the younger of the two.
Al was exposed to both R&B and country music as a boy, and taught himself piano on an instrument that he found on a rubbish dump. In 1958 he took the then unusual step of joining a white group, "The Rhythm Rockers," led by Bobby Brant. Changing their name to "The Poe Kats," they recorded the regionally successful "Down On The Farm" for Lelan Rogers White Rock label in Dallas: leased to the larger Challenge label, it narrowly missed the national charts but has become an acknowledged rock 'n' roll classic (as well as one of the shortest rock 'n' roll records, at one minute 31 seconds).
Just after they recorded "Down On The Farm," the Poe Kats were signed to back, the then emerging rockabilly queen, Wanda Jackson, for whom they played during most of 1958. Among Downing's three bandmates in backing Jackson was later country great Buck Owens. Some of Jackson's hits with Downing playing for her are, "Let's Have A Party", "Right Or Wrong" and "In The Middle Of A Heartache."
"(One of my bandmates) and I would do solo spots warming up the audience before she came on." Downing says of his days playing with Jackson. "Frankly, there wasn't as much prejudice as you'd expect even though I'd stand beside her and sing with her. She liked my playing and she'd introduce me to the audience, which helped. Sure ... there'd be times when they had to sneak me into a hotel with a towel over my head, but I didn't hear any racial remarks."
In the liner notes to her "Let's Have A Party" recording, Jackson adds, "Very often after the show, the group would have to smuggle Downing into a motel room in a bass fiddle body bag." She praises his ability, saying he "was restrained and screwing up in the studio until I told him to throw away the piano stool and play standing up as if he were giving a performance."
Playing for the Poe Kats and touring with Jackson put Downing on stage in front of country audiences throughout the United States and permitted him to open for such stars as Red Sovine, Dottie West, Don Gibson and Marty Robbins, for whom he also recorded. This exposure led to a number of solo recording contracts for Downing, including ones with the Columbia, White Rock and Carlton record labels. During this period he recorded duets with Esther Phillips and Downing's thumping piano and his deep voice, with its Fats Domino overtones, can be heard on such excellent rockers as "Yes I'm Loving You" and "Georgia Slop."
While Downing enjoyed moderate success with his recording of the Marty Robbins song, "Story Of My Life," these early recording contracts did little for his career. In 1970 he had his first hit, with the club classic "I'll Be Holding On" making it to the R&B chart. "I'll Be Holding On" was unique at the time for a running length of over 5 minutes. The insistent guitar hook had early clubgoers cutting the rug and made this one a northern soul favorite. Cory Robbins, (of "Love Insurance" fame) resurrected the rare 45 rpm for his "Super Rare Disco" series in 1997, which is perhaps the only way to own this classic.
Downing spent much of the 1970's touring on his own throughout the world and downplaying country in his performances. Then in 1978 he returned to a concentration on his country roots with his signing to the Warner label. Though Downing scored big hit singles with Warner in 1979 and 1980, the label would not finance a full album of his work. Nor would other major Nashville record labels. Despite rating huge billboards in Vienna, Austria, and earning frequent invitations to perform at music festivals in other European countries, the best Downing realizes from U.S. record labels since his refocus on country is commitments from independents. Among those independent releases was "I'll Be Loving You." The track became a No. 48 country chart hit in 1982, on Doc Holiday's Tug Boat Records & Mega International. Still active today, his focus is on country & western, although he still plays some rock & roll in his live shows.
Brother Don got his musical start with "Rodney & The Blazers." Bass player Rodney Lay Sr. and drummer Bob York kicked around together in a band known as "The Off Beats" throughout the last couple years of the 1950s. By 1960, with the addition of Bob "Sir Robert" Scott on saxophone and Pete "Peaches" Williams on guitar, they had transformed themselves into "Rodney & The Blazers," named after their habit of wearing blazers instead of normal jackets for their stage show. It wasn't their only idiosyncrasy in appearance — they also dyed their hair silver and wore sunglasses onstage. Don was soon added on piano as well as sharing lead vocals with Lay, and they were soon playing regular gigs every Friday night at the El Rancho Opera House located between their Coffeyville hometown and Independence, KS. That summer, they recorded and released their first single, "Teenage Cinderella," on their own Kampus label. It became a number one hit in several large markets around the country, particularly in Phoenix, Syracuse, Fargo, and Philadelphia. A Pittsburgh station even phoned Lay to tell him that the city's most important disc jockey had predicted that Lay would be the next Elvis. The single, however, did not have enough distribution behind it to go national (although it was later re-released on the Dore label without the band's consent after Johnny Tillotson's manager shopped it around Hollywood — the band predictably received no royalties).
"Rodney & The Blazers" kept very busy in 1961. They played at the Seattle World's Fair and New York City's famed Peppermint Lounge, as well as travelling to gigs in Arizona, New Jersey, Philadelphia, Baltimore, and British Columbia. They also completed a six-week tour with Bill Haley & the Comets that ended in Mexico City, upon which Don left the band.
For the next decade Don would do session work and play small gigs backing other artists. In 1973 he was hired to play on some sessions for up and coming producer Meco Monardo. This led to a meeting with Meco's partner Tony Bongiovi. Bongiovi was impressed with Don's musical skills and decided to cut a track with Downing and test the waters. The single "Lonely Days, Lonely Nights" charted at number 65 R&B in the summer of 1973. Though he had a minor hit it would take another half a decade before an album would follow. Another single, "Doctor Boogie" was released into almost obscurity. The pumping brassy number was an underground hit in disco clubs and found its way onto the play lists of major market radio stations in Chicago and elsewhere in 1978.
With disco a hot commodity and with the promising chart action from his "Doctor Boogie" track, Bongiovi was able to secure an album deal with RS (Roadshow) International Records for Downing.
The "Doctor Boogie" album featured some top New York session musicians: drummers Jimmy Young and Alan Schwartzberg, bassists Bob Babbitt and Wilbur Bascomb, guitarist Jeff Miranov, pianist Pat Rebillot, and percussionist Jimmy Maelan. It featured five newly recorded tunes plus his earlier hits "Lonely Days, Lonely Nights" and "Doctor Boogie." The b-side of "Lonely Days" was included on the album. "Dreamworld," was arranged by Meco Monardo and was quickly absorbed into the club scene. The song became an instant club classic and has recently resurfaced on 1997's "Super Rare Disco" and his own 1998 release "The Best Of Don Downing: Dreamworld," which is essentially a repackage of the "Doctor Boogie" album.
Despite the success of "Dreamworld" Downing never surfaced on vinyl again. Still Downing's "Doctor Boogie" LP cover is vintage '70s with Don and two of the three lovelies draped around him sporting huge Afros amid a dark and silvery disco club background with multi-colored star-bursting floodlights




* Don Downing - Dream World.MP3 Arranged by Meco Monardo

D.D. Sound





Brothers Carmelo and Michelangelo (Angelo) LaBionda recorded under the banner of D.D. Sound beginning in 1977. The collective group of studio musicians and vocalists were based out of Munich Germany but had their records released on the Italian label, Baby Records.
The first release for D.D. Sound was 1977's "1-2-3-4 Gimme Some More" and "Tonight At The Disco" (also released as "Disco Bass" and as "Disco Delivery"). The albums spawned the european hits "Shopping Baby" and "Disco Bass." Disco Bass was mixed by Harry Thumann who is best known for his later 1980 instrumental hit "Underwater " on Killroy records.
Without an American label to license the recordings the group remained unfamiliar to U.S. dancers in all but the most progressive clubs.
1978 saw the release of "La Bionda," also on Baby records (in America on Polydor Records), as the brothers put a hold on D.D. Sound releases. Using Martin Harrison (drums/percussion), Gary Unwin (bass), Freddy Protz and Palmer James (guitars), Giuseppe Solera (flute/sax), vocals by Peter Bishop-Jerry Rix and Ron, and backgrounds by Renate-Gitta and Edith. This core of musicians would appear on nearly all La Bionda productions between 1977-1980.
Recorded in late 1978 and released in early 1979 the third D.D. Sound album was a major global hit. "Cafe" took the entire first side of the album and when released here in America it boasted a sporty new Jonathon Fearing remix. The remaining tracks:"She's Not A Disco Lady," "Back Street Baby" and "Show Me Your Love" run the gamut from sublime to prime. The original recording was on Baby records and the remixed American album appeared on Emergency Records, no 12" singles were issued.
The brothers were able to mine the D.D. Sound outlet for one more hit in late 1979. Actually the song peaked in 1980 and was the biggest success the brothers would have. The original 12" single of "Hootchie Cootchie" was a Baby Records release and the import version was already streaking up the charts when Fuschia International released a nearly 10:00 remix. The original 12" had an instrumental version while the remix contained "Your Kind Of Music" on its b-side.









1 - 2 - 3 - 4 GIMME SOME MORE / DISCO DELIVERY


* D D Sound - 1, 2, 3, 4 Gimme Some More.MP3


TONIGHT AT THE DISCO / BURNING LOVE



* D D Sound - Burning Love.MP3



CAFE



* D D Sound - Cafe (European long version).MP3


THE HOOTCHIE COOTCHIE


* D D Sound - Your Kind Of Music.MP3

Dream Express - Take Me Out Dancing



On the US Dream Express cover, 5 men are listed, all black, and no women, neither as part of the band, or even chorus. However, in every track, one single male voice can be distinguished, and several female, all white-sounding. Puzzling!! In any case, the US Dream Express is fishy, because no female singers are listed although female chorus voices are present in each track, and 5 male singers are listed, while only 1 single male voice is audible in tracks.
Could this be another case of the Milli Vanilli syndrome ? Does anybody know anything about this ? Many disco covers present models in place of the probably less glamorous-looking studio singers (Lorraine Johnson, etc..), but would they show 5 models dressed as clowns, and state their names as group members (although none of them play any kind of instrument) and there are certainly some female singers involved ?
Dream Express appears to have been : Wayne Ward, Anthony Fairchild, Maurice Christian, Sammy Fultz, David Crockett. (except for Wayne Ward who may have been in the group Drum, there is no reference of the “group” members found which make it more an enigma on this group).


From 1979
Produced by Wes Farrell and Al DeLory.
Wes Farrell (December 21, 1939 - February 29, 1996) was an American musician, songwriter and record producer, who was most active in the 1960s and 1970s. He was responsible for over 300 million record sales, including 70 million sales with The Partridge Family, during his career.
Among Farrell's songs were "Boys" (co-written with Luther Dixon), originally performed by The Shirelles and subsequently covered by the Beatles, "Hang on Sloopy" (co-written with Bert Russell, aka Bert Berns), which became the Official Rock Song of the U.S. state of Ohio, "Come a Little Bit Closer" (co-written with songwriters Tommy Boyce and Bobby Hart), which was a #1 Billboard chart hit for Jay and the Americans, and the theme song for The Partridge Family television series, "Come On, Get Happy".
Recording artists Farrell produced included the Partridges (who actually consisted of David Cassidy and Shirley Jones with a team of studio musicians), Elephant's Memory (whose songs "Jungle Gym at the Zoo" and "Old Man Willow" appeared in the movie Midnight Cowboy), and singer Lulu (the title song to the James Bond movie The Man with the Golden Gun, and 1970s album material).
Farrell was also the owner of Bell Records, which was a merger of three earlier labels (Amy, Mala, and Bell Records). The company was later bought out by Screen Gems, and eventually became Arista Records, while Farrell went on to found Chelsea Records.
Al DeLory
In terms of public recognition, Al DeLory stands somewhat in the shadow of his daughter, singer Donna DeLory. On the other hand, Al DeLory has played on some of the most popular and enduring records of the '60s, including the Beach Boys' Pet Sounds and many of the group's hit singles from the middle of the decade, and on the Phil Spector-produced session that yielded "Zip a de Doo Dah." Additionally, as a producer, DeLory worked on a string of hit singles and platinum-selling albums by Glen Campbell -- and although he's usually identified as a country producer and arranger, DeLory has also produced and arranged songs for the Lettermen, the Four Preps, and other pop-vocal ensembles. DeLory first came to prominence in the late '50s for co-authoring the song "Mr. Custer" ("Please Mr. Custer, I don't want to go...."), which became a million-selling novelty hit in the hands of Larry Verne. By the early '60s, DeLory was a very busy session musician, playing piano and organ for records produced by Phil Spector and Brian Wilson, among others, and was signed as a producer at Capitol Records. When session guitarist Glen Campbell was signed to Capitol as a recording artist and expressed a desire to break out of doing bluegrass instrumentals, DeLory was assigned to produce him and steered him to a very appealing country-pop sound. With help from a large handful of Jimmy Webb songs (and one, "Gentle on My Mind," by John Hartford), Campbell and DeLory generated a string of million-selling singles and albums between 1965 and 1970; DeLory was inducted into the Country Music Hall of Fame as a producer three decades later for his work on Campbell's recordings of "By the Time I Get to Phoenix" and "Wichita Lineman." DeLory also did one film score during the '60s, collaborating with Nick Venet and Fred Darian in writing and assembling the background music to the exploitation film Out of Sight (1966) (which featured the music of the Turtles, Gary Lewis & the Playboys, Dobie Gray, the Knickerbockers, and the Astronauts), and also occasionally cut his own instrumental records as a bandleader, enjoying a modest chart hit in 1970 with a single of the "Theme From M*A*S*H* (Suicide Is Painless)." He became less visible during the '70s and '80s after permanently moving to Nashville, following his wife's death from cancer, but continued to produce and arrange for other artists while also leading his own band. He occasionally composed the soundtracks to feature films, including Norwood, Pioneer Woman, Buster & Billie, and The Devil's Rain. During the '90s, he was busy leading his own band, Al DeLory and Mambo '98, and most recently, he has been leading a salsa band in Nashville. In the intervening years, his daughter, singer Donna DeLory, has emerged as a recording artist in her own right.

Engineer : Shannon O’Neill
Drums : Larry “Fatback” Tolbert. He was also in the group Raydio (Ray Parker).
Bass : Eddie Watkins & Domenic Geneva
Guitars : Paul Jackson Jr, Russ Feiter, Marlo Henderson
Percussion : Shondu Akiem, Tommy Vig
Keyboards : Al DeLory
Personal Direction : Don Kelley Organization
Thanks To (could this be singers ?) : Jolene, Donna (*), Merry & Bobby, Sam The Tux Man, Bridget
(*) Could this already be Donna DeLory ? She would be age 15 in 1979, but started doing background vocals at an early age, also doing backing vocals for Ray Parker and Madonna.

Mastered by Bob MacLeod at Artisan Sound Recorders, Hollywood
Recorded at Gold Star Recording Studios, Hollywood & Can Am Recorders, Inc, Tarzana, CA.

The song Midnight Dream sounds very much like Ultimate, listen to the “Ooooh”s and the very similar voices and orchestration.

There was another Dream Express disco group operating out of Belgium during the same years. They were a totally different band then the Dream Express listed here.

The Belgian Dream Express had some success in Europe with "A Million In One Two Three", having represented Belgium for the 1977 Eurovision contest, which, for those who don't know it, is a pan-European (plus Israel & Turkey) song contest, held annually, where consistently unknown, and often awful groups contended. For some reason, foreigners were often chosen to represent other countries, like Celine Dion for Switzerland.






* Dream Express - Take Me Out Dancing.MP3

Inner Life (vocals by Jocelyn Brown)



vocals by Jocelyn Brown
one of the most powerful voices




The group Inner Life spawned a handful of amazing disco singles and three accomplished LPs that have remained as powerful as they day they were recorded. Not so much a group as a shifting unit of closely connected producers and musicians, the most significant constant of the group was the presence of Jocelyn Brown, a vocalist who can logically be referred to as the Queen of Disco. Throughout Inner Life's existence, the work of several luminaries graced the group's recordings. Patrick Adams, Leroy Burgess, Greg Carmichael, Stan Lucas, Bob Blank, Tee Scott, and Larry Levan each played significant roles in Inner Life's output. Inner Life's breakout occurred in 1979 with "I'm Caught Up (In a One Night Love Affair)" a sad but redemptive single written in part by the venerable Patrick Adams (who put together Musique, another Jocelyn Brown group that scored with "In the Bush" and "Keep on Jumpin'"). Arranged by Adams and produced by him with help from Greg Carmichael and Debbie Hayes, the song peaked at #22 on the U.S. R&B chart but deserved even better. The single was originally released on Carmichael's TCT imprint, but soon after its initial release, a bidding war broke out between a number of labels for the license to release it a second time. Prelude won out by paying $17,500 and helped take it to the charts with exposure that Carmichael's small label could not provide.
The group switched over to Salsoul for the remainder of their releases. A self-titled 1981 album featured a remake of Ashford & Simpson's "Ain't No Mountain High Enough," but the remix from Paradise Garage DJ Larry Levan lifted the song above the clouds. Stretching the original out to ten minutes and turning it into a mammoth, sweeping, incredibly dynamic disco song with all sorts of dazzling segments -- not to mention Brown's vocal turn, one of the most impressive ever recorded, regardless of genre -- Levan helped make the song an instant disco classic.
The misleadingly titled Inner Life II (apparently they weren't counting the brief I'm Caught Up as an LP), the group's third album, featured arranger/producer/guitarist Stan Lucas (Dazzle), songwriter/arranger/vocalist/keyboardist LeRoy Burgess (Black Ivory, Logg, Convertion), bassist James Calloway (Black Ivory), and songwriter Sonny Davenport (a frequent Burgess/Calloway collaborator). Generally considered to be the finest Inner Life LP, it featured "Moment of My Life," a joyous song with an infectious skipping/hopping feel to it.
The project ended shortly after that, with all the involved parties continuing their careers and often working together again in various capacities. Brown continued to rack up credit after credit, releasing solo material and guesting on records made by several admirers.

1979 - I'M CAUGHT UP (IN A ONE NIGHT LOVE AFFAIR)

* Inner Life - I'm Caught Up (In A One Night Love Affair).MP3


1981 - INNER LIFE

* Inner Life - Ain't No Mountain High Enough.MP3


1982 - INNER LIFE II

* Inner Life - I Picked A Winner.MP3

Montreal feat Uchenna Ikejiani (Carol Jiani) - If You Believe In Me





CAROL JIANI

Nigerian born Uchenna Ikejiani found singing came naturally at an early age. Growing up in oppressive Nigeria was nothing that Uchenna cared to talk about. As a young adult she found her way to Canada in the mid 1970's as a college student. While in Montreal as a student she came in contact with another student that would change her life forever.
Joe LaGreca found the tiny Uchenna to posess a voice that could wail or whimper. She audtioned for the upstart producer in the fall of 1977. Joe was preparing to work on his first full length production. Immediately he fell in love with her voice and she landed the one-time gig. Tracks were laid down in early 1978 at Marko Studios in Montreal. The cast and crew were comprised of mostly fellow students.The result was "Montreal featuring Uchenna Ikejiani."
The first thing of note about the album is that it is NOT Uchenna on the cover, rather some nameless model. The second thing of note is that the featured track and the most played was an instrumental that did NOT have Uchenna on it. So Uchenna's first break into the recording world was really not her's at all. The album featured three tracks. Uchenna's vocals are on the tracks: "If You Believe in Me" and "Higher And Higher." The instrumental favorite was "Under the Lights Of Montreal." Released on Star Disc in Canada and picked up for American release by Salsoul Records. Salsoul hired star jock Bobby "D.J." Guttadaro to remix it for it's U.S. release and initial sales were minimal at best. It was this collaboration that cemented a friendship between Uchenna and Joe that would last many years and take both to the top of the charts and into disco history. It was Joe that convinced Uchenna to anglicize her name and shorten her surname. Thus Carol Jiani was born sometime around 1979-1980. During 1979 Joe and Carol worked on several formulas trying to perfect disco magic.

Information credited to discomuseum.com



Montreal feat Uchenna Ikejiani (Carol Jiani) - If You Believe In Me

Freddie James - 007 Medley




Born in Chicago, Illinois (he loves living there!) in 1965. Freddie came from a musical background. His great-grandmother had been a singer down in Missouri. His grandfather made extra money doing a one man band hustle. And of course his mother is Geraldine Hunt. Freddie learned about singing from the heart while listening to his family singing in church choirs on Chicago's south side. It was only natural with his exposure to music at home and church that precocious little Freddie would gravitate towards singing for love and attention.
In 1975 Geraldine and her three kids moved north to Montreal. While in Canada Hunt worked on her career and started her own label, 6 A.M. Records, which gave her two minor hits. Those hits brought her to the attention of producer/label owner Tony Green. Green produce a 1978 album for Geraldine entitled "Sweet Honesty." It was through that meeting and recording that Tony spotted little Freddie. Green was already working with another youngster (France Joli) and about to score big with her when Green signed James to an exclusive contract and set about recording him. Green recorded four tracks with 14 year-old James. He was able to license them to Unidisc Records and after their initial release in Canada they were quickly optioned by Warner Bros. for their American distribution. The first 12" single released was "Get Up And Boogie" which was not to be confused with the Silver Convention classic from a few years earlier. The song raced up the club charts and not only established young Freddie as a disco star, but gave Green his entree into the American recording scene as a respected producer. The song was pure energy and Freddie's vocals, while not as extraordinary as Joli's, were able to handle the simplistic arrangement. The song was so successful that a second 12" single, "Hollywood," was released promotionally as was a third, "Crazy Disco Music" to top ten club success. All were variations on a theme, the theme was high energy music and simplistic lyrics that were hooked loaded. The album only contained four songs with "Dance Little Boy Blue" being the weakest one. A second album followed in 1980. However disco was collapsing in America and Warner Bros. was closing down it's 'disco' department and passed on optioning it. "Sweetness" was not a replica of his first album. Of the 13 tracks not all were disco or dance oriented. Wishing to broaden his appeal Green and James included the ballads "I'm Just A Fool For Your Love," "Too Young To Fall In Love" and "In Love For The First Time." The dance cuts were as high energy as his previous releases. The standouts were; "Get Up Get Down," "Boogietime," "Dance To The Beat" and "Music Takes Me Higher." A 12" single of "Music Takes Me Higher" on Unidisc made it's way down here from Canada. Jocks in the know programmed it but the Tony Green sound seemed passe at that point and dance floors weren't into it. Freddie reappeared in 1982 with "Don't Turn Your Back On Me" and 1983 with "Hot Thing" both for Arista. Both songs were quite different from his earlier Green produced material. Though they were good they failed to re-ignite his American career. While trying to ignite his career in 1982, James along with Mom Geraldine, turned their attention to little sister Roz. Rosalind Hunt, was one half of Cheri, a female duo. Cheri scored a major dance and top 40 hit with the quirky "Murphy's Law." Geraldine, Freddie and bassist Peter Dowse wrote and produced the 12" single and subsequent album. Cheri had several more 12" single releases, "Working Girl" and "Come & Get These Memories" among them, before fading away. After his success with Roz in the early 1980's Freddie continued song writing and touring. In the mid-1980's he landed a part in the stage revival of the musical "Hair" which led to a part as 'Flash' in the 1987 movie "Wild Thing." Touring the U.S. and Canada constantly, Freddie's status as an in-demand 'disco star' has also brought invitations to perform in Japan, Africa, Hong Kong, the Philippines, Singapore and Indonesia. In 1993 Freddie, with old friend and producer Tony Green hit the studios for another album. "Come Into The Jungle" featured 12 wonderful tracks that showcased a more mature sounding James. Released on Monogram Records, the album although excellent, failed to sell, possibly due to it's poor distribution. A 12" single of "I Can't Get Enough (Of Your Love)" did well in the local club scene, mainly a high energy track, it evoked memories of the Green-James material from 1979. Some other notable tracks are "Never Gonna Give You Up," "City Of Lust," "Hide Your Love" and "I Wanna Make Love To You." Besides the legendary Green producing the album hosted some other notables; scratching by Star, rapping by Zero Tolerance, background vocals by Freddie, Geraldine Hunt, Maurice Williams and Michelle Sweeney. It's interesting to compare the three albums James' has released. Though similar in sound they actually show his progression from child star to hip urban funkster. A maturing process that fans of his can appreciate. "Freddie The Comedian".. Freddie started his comedy career while attending an open mic night with a friend. After watching, he decided to give it a try himself. The next week he found himself on stage doing his first of many sets to come. Since being bitten by the comedy bug, Freddie hasn’t stopped. Freddie began seeking out open mic nights to get more stage time and experience, while learning how to work the stage and getting his timing down. Freddie found himself doing shows in well known clubs such as The Comedy Nest, The Comedy Works and the Canadian comedy chain Yuk Yuks. It seems to have paid off. In 1999 he was picked to compete in the Just for Laughs, "Funniest East Coast Comic" competition. He didn’t win but it didn’t keep him down, it just made him more determined. That determination paid off when Freddie was picked as one of the comics to perform at Club Soda during the 2001 Just for Laughs Festival. As the the century began to wind down, James along with sister Roz, formed a band The Freddie James Project. The new band plays not only his disco hits, but a wide variety of covers and rock-oriented material as well. And as the new millennium kicked in his acting career was on the rise, look for him in "Book Of Eve." Although his recording career has been brief, he dominated the club charts in the summer of 1979. If you ever have the chance to catch him, either with his band or at the local comedy club.....do it! You'll be in for a pleasant treat.





* Download Freddie James - 007 Medley.MP3