chapter twoconsolidation

[…] off with Olatunji and end up with Johnny Mathis.” Grasso started to play the polyrhythmic sounds of the African artist only once Seymour and Shelley had taken control of the Sanctuary, and “Jin-Go-Lo-Ba (Drums of Passion)” became his most radical statement—older music for a bolder dance floor.

I didn’t want to play Olatunji until I had an audience for it.” Santana had coincidentally just come out with a cover version of “Jin-Go-Lo-Ba,” renamed “Jingo,” and the Sanctuary DJ used this popular remake as his cue.

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

[…] “I would make the mix.” The DJ’s most famous permutation layered the Latin beats of Chicago’s “I’m a Man” over the erotic groans of the vocal break in Led Zeppelin’s “Whole Lotta Love.” “You really couldn’t dance to the Zeppelin once it went into that orgasmic tripping stuff, but if you mixed […]

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

[…] most famous permutation layered the Latin beats of Chicago’s “I’m a Man” over the erotic groans of the vocal break in Led Zeppelin’s “Whole Lotta Love.” “You really couldn’t dance to the Zeppelin once it went into that orgasmic tripping stuff, but if you mixed it with the Chicago then you could.

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

[…] off with Olatunji and end up with Johnny Mathis.” Grasso started to play the polyrhythmic sounds of the African artist only once Seymour and Shelley had taken control of the Sanctuary, and “Jin-Go-Lo-Ba (Drums of Passion)” became his most radical statement—older music for a bolder dance floor.

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

on the select discography for Sanctuary 1970, chosen by Francis Grasso

[…] “I would make the mix.” The DJ’s most famous permutation layered the Latin beats of Chicago’s “I’m a Man” over the erotic groans of the vocal break in Led Zeppelin’s “Whole Lotta Love.” “You really couldn’t dance to the Zeppelin once it went into that orgasmic tripping stuff, but if you mixed […]

[…] most famous permutation layered the Latin beats of Chicago’s “I’m a Man” over the erotic groans of the vocal break in Led Zeppelin’s “Whole Lotta Love.” “You really couldn’t dance to the Zeppelin once it went into that orgasmic tripping stuff, but if you mixed it with the Chicago then you could.