chapter tenturbulence

Early big-money deals included the singles “Here Comes That Sound Again” by Love DeLuxe, which the Warners executive picked up at the MIDEM convention in Cannes at the beginning of 1979, and “Dancer” by Canadian artist Gino Soccio, which reached forty-eight on the pop charts.

Early big-money deals included the singles “Here Comes That Sound Again” by Love DeLuxe, which the Warners executive picked up at the MIDEM convention in Cannes at the beginning of 1979, and “Dancer” by Canadian artist Gino Soccio, which reached forty-eight on the pop charts.

Pellegrino notched up his first hit with John Luongo’s remix of Jackie Moore’s “This Time Baby.” “I took the acetate to the Paradise Garage and gave it to Larry Levan,” says the disco chief.

The genre’s apparently irreversible momentum found its embodiment in the subsequent release of “Ain’t No Stoppin’ Us Now” by McFadden and Whitehead (who had already made a name for themselves by penning hits for the O’Jays and Harold Melvin & the Blue Notes) and “We Are Family” by Sister Sledge […]

[…] the subsequent release of “Ain’t No Stoppin’ Us Now” by McFadden and Whitehead (who had already made a name for themselves by penning hits for the O’Jays and Harold Melvin & the Blue Notes) and “We Are Family” by Sister Sledge (which was masterminded by Chic duo Bernard Edwards and Nile Rodgers).

[…] and had skillfully developed a series of dance acts that now included Chic, whose combination of hard-edged drums, prominent bass riff, and shimmering vocals on the tight, smooth, positive, and selfassured “Good Times” appealed not only to America’s haves but also to its aspirational have-nots.

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

Casablanca notched up one of its biggest hits to date when it came out with “Bad Girls” by Donna Summer.

TK demonstrated that the departure of Caviano hadn’t dented its ability to work a catchy dance smash when it persuaded Richie Rivera to deliver a characteristically unconventional mix of “Ring My Bell” by Anita Ward.

Earth, Wind & Fire came out with “Boogie Wonderland,” which performed strongly in the clubs and the charts.

And the release of “Sentimentally It’s You” by Theo Vaness and the signing of “Disco Circus” by Martin Circus cemented Prelude’s growing reputation.

And the release of “Sentimentally It’s You” by Theo Vaness and the signing of “Disco Circus” by Martin Circus cemented Prelude’s growing reputation.

Yet any sort of loyalty that might have been forged by the release of Saturday Night Fever quickly evaporated when the band recorded the soundtrack for RSO’s 1978 movie, Sgt.

[…] dancers could go to as many parties as they liked—the campaign against disco in Chicago continued when WDAI-FM signaled its return to rock with a twenty-four hour looped rendition of Donna Summer’s “Last Dance,” transforming a song ofromantic regret into a grotesque caricature of disco repetition.

At WLVQ-FM, in Columbus, Ohio, morning man John Fisher put on fatigues and a gas mask, declared himself general of a rock & roll army, torpedoed the Village People’s “In the Navy,” and sent uncounted hundreds of disco records to the trash compactor between periods at a soccer match.

“For outfits like Parliament-Funkadelic, which has long purveyed jazzish funk instrumentals, the transition has been easy,” argued the New York Times journalist, citing Parliament’s latest release, Funkentelechy vs.

[…] of this concept had just made its public breakthrough when Fatback, a struggling funk group from Brooklyn, released “King Tim III (Personality Jock),” which featured a previously marginal DJ called King Tim III and referenced the days when radio rapping jocks infused their shows with rhyming jive.

However, it was the three youngsters — named the Sugarhill Gang—who were picked up by the Robinsons to record “Rapper’s Delight,” a twelve-inch rap that recreated the bass line of Chic’s “Good Times” and first entered the Billboard chart in October 1979.

[…] and early rap records drew heavily on the rapping and vamping of the likes of Linda Clifford (“Runaway Love”), Isaac Hayes (“By the Time I Get to Phoenix”), Loleatta Holloway (“Hit and Run”), the Intruders (“I’ll Always Love My Mama”), and the Salsoul Orchestra (“Ooh, I Love It [Love Break]”).

Salsoul also began to toy with the rap option, if only because its disco output—aside from a special Walter Gibbons compilation titled Disco Madness and a strong twelve-inch from Candido that included “Jingo” and “Thousand Finger Man”—had reached a new artistic and commercial low.

Salsoul also began to toy with the rap option, if only because its disco output—aside from a special Walter Gibbons compilation titled Disco Madness and a strong twelve-inch from Candido that included “Jingo” and “Thousand Finger Man”—had reached a new artistic and commercial low.

[…] ‘Someone’s going to make a million dollars on that!’ I said, ‘No way!’ I thought it was kind of cool, but I didn’t think it would make anyone any money.” Bataan went away, wrote some lyrics, and then went into the studio with Baker to record “Rap-O Clap-O” for London Records in the summer of 1979.

While the label notched up hits such as “Bad Girls” and “Hot Stuff” by Donna Summer and the Village People’s “In the Navy” as well as cult classics like “Walk the Night” by the Skatt Bros.

While the label notched up hits such as “Bad Girls” and “Hot Stuff” by Donna Summer and the Village People’s “In the Navy” as well as cult classics like “Walk the Night” by the Skatt Bros.

While the label notched up hits such as “Bad Girls” and “Hot Stuff” by Donna Summer and the Village People’s “In the Navy” as well as cult classics like “Walk the Night” by the Skatt Bros. and Moroder’s “E=MC2,” Bogart’s finances were out of control.

An increasingly indebted PolyGram, which already owned 50 percent of the West Coast label, simultaneously bought out the rest of the company for fifteen million dollars — “Funkytown” by Lipps Inc.

Summer, in the meantime, recorded a relatively unsuccessful rock-flavored LP titled The Wanderer for her new label, Geffen, in 1980, and PolyGram eventually settled with the singer on condition that she deliver one final album.

The title track, “She Works Hard for the Money,” released in 1983, dripped with bitterness.

Pepper’s with the lackluster Living Eyes—no hits, dance or otherwise, of any description there—and Chic jumped off the now-derailed disco bandwagon as calculatingly as they had jumped on it in 1977.

“Call Me” by Blondie contributed to the developing canon of rock dance recordings, and Irene Cara’s “Flashdance … What a Feeling” gave a commercial shot in the arm to the dance industry in 1983, but Moroder wrote both of these songs for soundtracks, and it was toward Hollywood and not nightworld […]

[…] Me” by Blondie contributed to the developing canon of rock dance recordings, and Irene Cara’s “Flashdance … What a Feeling” gave a commercial shot in the arm to the dance industry in 1983, but Moroder wrote both of these songs for soundtracks, and it was toward Hollywood and not nightworld […]

Walter Gibbons also went off in a different direction, for, while he produced one of the most important dance records of the 1980s in the form of “Set It Off” by Strafe, his devout religious beliefs led him to sever relations with the music industry and restrict his DJing selections.

“My lawyer got me to sign this contract with Casablanca,” says Moulton, who mercifully mixed the breathtaking “Love Sensation” by Loleatta Holloway before signing away his soul.

I kept Grace Jones and the Trammps.” Moulton released his first record with Casablanca—“Put Yourself in My Place” by TJM on the specially created subsidiary Tom & Jerry—in July 1979, but the agreement turned sour when PolyGram bought out Casablanca and told the remixer-producer that they didn’t […]

[…] music for record hops and early discotheques, and the emergence of danceable new wave bands such as Blondie (“Atomic”), Talking Heads (“Take Me to the River”), and the Yellow Magic Orchestra (“Computer Game ‘Theme from the Circus’ ”) promised a belated return to the mission of bodily pleasure.

[…] music for record hops and early discotheques, and the emergence of danceable new wave bands such as Blondie (“Atomic”), Talking Heads (“Take Me to the River”), and the Yellow Magic Orchestra (“Computer Game ‘Theme from the Circus’ ”) promised a belated return to the mission of bodily pleasure.

[…] music for record hops and early discotheques, and the emergence of danceable new wave bands such as Blondie (“Atomic”), Talking Heads (“Take Me to the River”), and the Yellow Magic Orchestra (“Computer Game ‘Theme from the Circus’ ”) promised a belated return to the mission of bodily pleasure.

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

Salsoul also began to toy with the rap option, if only because its disco output—aside from a special Walter Gibbons compilation titled Disco Madness and a strong twelve-inch from Candido that included “Jingo” and “Thousand Finger Man”—had reached a new artistic and commercial low.

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

Having established a buzz with his reworking of “I Got My Mind Made Up” and Bumble Bee Unlimited’s “Lady Bug,” the Garage DJ remixed two more Instant Funk tracks—“Bodyshine” and “Slap Slap Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The […]

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Loft 1979, chosen by David Mancuso

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

Salsoul also began to toy with the rap option, if only because its disco output—aside from a special Walter Gibbons compilation titled Disco Madness and a strong twelve-inch from Candido that included “Jingo” and “Thousand Finger Man”—had reached a new artistic and commercial low.

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

While the label notched up hits such as “Bad Girls” and “Hot Stuff” by Donna Summer and the Village People’s “In the Navy” as well as cult classics like “Walk the Night” by the Skatt Bros. and Moroder’s “E=MC2,” Bogart’s finances were out of control.

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

While the label notched up hits such as “Bad Girls” and “Hot Stuff” by Donna Summer and the Village People’s “In the Navy” as well as cult classics like “Walk the Night” by the Skatt Bros.

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

Early big-money deals included the singles “Here Comes That Sound Again” by Love DeLuxe, which the Warners executive picked up at the MIDEM convention in Cannes at the beginning of 1979, and “Dancer” by Canadian artist Gino Soccio, which reached forty-eight on the pop charts.

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

on the select discography for Warehouse 1977–79, chosen by Frankie Knuckles

I remember he did one that started with the opening bars of Sharon Redd’s ‘Beat the Street,’ went into some Sylvester vocals, and then returned to the intense part of ‘Beat the Street.’ It really got the crowd going.” The response of the dancers was accentuated by the paucity of club life in the […]

Having established a buzz with his reworking of “I Got My Mind Made Up” and Bumble Bee Unlimited’s “Lady Bug,” the Garage DJ remixed two more Instant Funk tracks—“Bodyshine” and “Slap Slap Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The […]

[…] Up” and Bumble Bee Unlimited’s “Lady Bug,” the Garage DJ remixed two more Instant Funk tracks—“Bodyshine” and “Slap Slap Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The Greatest Performance of My Life,” “Double Cross” by First Choice, […]

[…] Bee Unlimited’s “Lady Bug,” the Garage DJ remixed two more Instant Funk tracks—“Bodyshine” and “Slap Slap Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The Greatest Performance of My Life,” “Double Cross” by First Choice, Bunny Sigler’s “By […]

[…] Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The Greatest Performance of My Life,” “Double Cross” by First Choice, Bunny Sigler’s “By the Way You Dance” and “Make It Last Forever” by Inner Life, Patrick Adams and Greg Carmichael’s studio outfit […]

Having established a buzz with his reworking of “I Got My Mind Made Up” and Bumble Bee Unlimited’s “Lady Bug,” the Garage DJ remixed two more Instant Funk tracks—“Bodyshine” and “Slap Slap Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The […]

[…] Mind commissions arrived in the form of Loleatta Holloway’s “The Greatest Performance of My Life,” “Double Cross” by First Choice, Bunny Sigler’s “By the Way You Dance” and “Make It Last Forever” by Inner Life, Patrick Adams and Greg Carmichael’s studio outfit that featured Jocelyn Brown on vocals.

[…] Levan to mix “Give Your Body Up to the Music” by Billy Nichols, as well as Taana Gardner’s “When You Touch Me” and “Work That Body” for West End, and Elektra also moved in on the new talent, offering him the opportunity to rework Dee Dee Bridgewater’s “Bad for Me.” “He played the shit out […]

[…] also moved in on the new talent, offering him the opportunity to rework Dee Dee Bridgewater’s “Bad for Me.” “He played the shit out of all those records,” says François Kevorkian, who had announced his intention to quit New York, New York in the spring of 1979 by spinning Blondie’s “Heart of […]

[…] Dee Bridgewater’s “Bad for Me.” “He played the shit out of all those records,” says François Kevorkian, who had announced his intention to quit New York, New York in the spring of 1979 by spinning Blondie’s “Heart of Glass”—a favorite of owner John Addison— thirteen times in incensed succession.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

[…] also moved in on the new talent, offering him the opportunity to rework Dee Dee Bridgewater’s “Bad for Me.” “He played the shit out of all those records,” says François Kevorkian, who had announced his intention to quit New York, New York in the spring of 1979 by spinning Blondie’s “Heart of […]

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

Salsoul also began to toy with the rap option, if only because its disco output—aside from a special Walter Gibbons compilation titled Disco Madness and a strong twelve-inch from Candido that included “Jingo” and “Thousand Finger Man”—had reached a new artistic and commercial low.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

Salsoul also began to toy with the rap option, if only because its disco output—aside from a special Walter Gibbons compilation titled Disco Madness and a strong twelve-inch from Candido that included “Jingo” and “Thousand Finger Man”—had reached a new artistic and commercial low.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

[…] Levan to mix “Give Your Body Up to the Music” by Billy Nichols, as well as Taana Gardner’s “When You Touch Me” and “Work That Body” for West End, and Elektra also moved in on the new talent, offering him the opportunity to rework Dee Dee Bridgewater’s “Bad for Me.” “He played the shit out […]

on the select discography for Paradise Garage 1979, chosen by Larry Levan

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

[…] Mind commissions arrived in the form of Loleatta Holloway’s “The Greatest Performance of My Life,” “Double Cross” by First Choice, Bunny Sigler’s “By the Way You Dance” and “Make It Last Forever” by Inner Life, Patrick Adams and Greg Carmichael’s studio outfit that featured Jocelyn Brown on vocals.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

And the release of “Sentimentally It’s You” by Theo Vaness and the signing of “Disco Circus” by Martin Circus cemented Prelude’s growing reputation.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

First Choice’s new album, Hold Your Horses, included “Love Thang” and “Double Cross.” Taana Gardner’s debut single “Work That Body” and Billy Nichols’s “Give Your Body Up to the Music” guaranteed West End further rotation in New York’s hottest clubs.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

Having established a buzz with his reworking of “I Got My Mind Made Up” and Bumble Bee Unlimited’s “Lady Bug,” the Garage DJ remixed two more Instant Funk tracks—“Bodyshine” and “Slap Slap Lickedy Lap”—and further Salsoul/Gold Mind commissions arrived in the form of Loleatta Holloway’s “The […]

on the select discography for Paradise Garage 1979, chosen by Larry Levan

Early big-money deals included the singles “Here Comes That Sound Again” by Love DeLuxe, which the Warners executive picked up at the MIDEM convention in Cannes at the beginning of 1979, and “Dancer” by Canadian artist Gino Soccio, which reached forty-eight on the pop charts.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

Casablanca notched up one of its biggest hits to date when it came out with “Bad Girls” by Donna Summer.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for Paradise Garage 1979, chosen by Larry Levan

And the release of “Sentimentally It’s You” by Theo Vaness and the signing of “Disco Circus” by Martin Circus cemented Prelude’s growing reputation.

on the select discography for Paradise Garage 1979, chosen by Larry Levan

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

Pellegrino notched up his first hit with John Luongo’s remix of Jackie Moore’s “This Time Baby.” “I took the acetate to the Paradise Garage and gave it to Larry Levan,” says the disco chief.

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

on the select discography for 12 West 1979, chosen by Robbie Leslie

And the release of “Sentimentally It’s You” by Theo Vaness and the signing of “Disco Circus” by Martin Circus cemented Prelude’s growing reputation.

on the select discography for 12 West 1979, chosen by Robbie Leslie

[…] on a silver platter anymore.” Leslie responded by paying more attention to the import market and records like “Hit and Run Lover” by Carol Jiani, Kelly Marie’s “Feels Like I’m in Love,” “Hot Leather” by the Passengers, Tantra’s “Hills of Katmandu,” and “If You Could Read My Mind” by Viola Wills.

[…] on a silver platter anymore.” Leslie responded by paying more attention to the import market and records like “Hit and Run Lover” by Carol Jiani, Kelly Marie’s “Feels Like I’m in Love,” “Hot Leather” by the Passengers, Tantra’s “Hills of Katmandu,” and “If You Could Read My Mind” by Viola Wills.

[…] on a silver platter anymore.” Leslie responded by paying more attention to the import market and records like “Hit and Run Lover” by Carol Jiani, Kelly Marie’s “Feels Like I’m in Love,” “Hot Leather” by the Passengers, Tantra’s “Hills of Katmandu,” and “If You Could Read My Mind” by Viola Wills.

[…] on a silver platter anymore.” Leslie responded by paying more attention to the import market and records like “Hit and Run Lover” by Carol Jiani, Kelly Marie’s “Feels Like I’m in Love,” “Hot Leather” by the Passengers, Tantra’s “Hills of Katmandu,” and “If You Could Read My Mind” by Viola Wills.

[…] on a silver platter anymore.” Leslie responded by paying more attention to the import market and records like “Hit and Run Lover” by Carol Jiani, Kelly Marie’s “Feels Like I’m in Love,” “Hot Leather” by the Passengers, Tantra’s “Hills of Katmandu,” and “If You Could Read My Mind” by Viola Wills.