chapter fivevisibility

“(We’ll Be) United” by the Intruders, which featured Vince Montana on vibes and a string arrangement by Bobby Martin, reached number fourteen on the R&B charts, and subsequent collaborations with the Intruders, as well as productions with Jerry Butler (on Mercury) and Wilson Pickett (on Atlantic), […]

[…] International constituted one such raid, and, just two months after the publication of what came to be known as the Harvard Report, Davis was able to bask in the glory of PIR’s first hit, “Back Stabbers” by the O’Jays, which reached number one on the R&B chart and number three on the pop chart.

The band’s first single, “If You Don’t Know Me by Now,” a quiet ballad featuring high harmonies and a delicate beat, had sparked a gold album, and Gamble and Huff, deliberately shelving the band’s electrifying 1972 recording of “Bad Luck,” wrote “The Love I Lost” as another slow number.

The band’s first single, “If You Don’t Know Me by Now,” a quiet ballad featuring high harmonies and a delicate beat, had sparked a gold album, and Gamble and Huff, deliberately shelving the band’s electrifying 1972 recording of “Bad Luck,” wrote “The Love I Lost” as another slow number.

The band’s first single, “If You Don’t Know Me by Now,” a quiet ballad featuring high harmonies and a delicate beat, had sparked a gold album, and Gamble and Huff, deliberately shelving the band’s electrifying 1972 recording of “Bad Luck,” wrote “The Love I Lost” as another slow number.

Young says that he started to up the tempo with the recording of Wilson Pickett’s “Don’t Let the Green Grass Fool You,” released on Atlantic in 1970, but it wasn’t until “Zing Went the Strings of My Heart,” the first single released by Young’s Philadelphia-based band the Trammps, that nightworld […]

[…] started to up the tempo with the recording of Wilson Pickett’s “Don’t Let the Green Grass Fool You,” released on Atlantic in 1970, but it wasn’t until “Zing Went the Strings of My Heart,” the first single released by Young’s Philadelphia-based band the Trammps, that nightworld began to take note.

Engineered by Joe Tarsia (in many respects the unheralded architect of the Philadelphia Sound) and arranged by Bobby Martin (another quiet but crucial operator within the empire at Sigma Sound), “TSOP” combined a pounding Baker-Harris-Young rhythm track with the melodic patterns of Huff’s organ and […]

“TSOP” reached number one on the R&B and pop charts in the spring of 1974, but by then an alternative club anthem had already emerged in the form of “Love Is the Message,” which appeared alongside the Soul Train theme on MFSB’s debut album, TSOP (The Sound of Philadelphia).

Mancuso’s latest musical offering came in the form of Barrabas, an album by a Spanish rock group of the same name that was released by RCA in Spain in 1972 and had disappeared without a trace in America following a brief promotional push in May 1973.

I used to do that with a lot of records.” The Loft host ended up rotating two tracks, “Wild Safari” and “Woman,” both of which combined Afro-rock with a dash of electric Latin percussion, and as word got around he did his best to spread the manna.

I used to do that with a lot of records.” The Loft host ended up rotating two tracks, “Wild Safari” and “Woman,” both of which combined Afro-rock with a dash of electric Latin percussion, and as word got around he did his best to spread the manna.

Opening night drew in 1,600 dancers, with Siano treating his packed dance floor to a special edition of LaBelle’s “What Can I Do For You?” from the album Nightbirds. “That was the first time that I turned off the sound in the middle of a record,” he says.

Opening night drew in 1,600 dancers, with Siano treating his packed dance floor to a special edition of LaBelle’s “What Can I Do For You?” from the album Nightbirds. “That was the first time that I turned off the sound in the middle of a record,” he says.

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

Moulton used his very first column to highlight the case of Gloria Gaynor’s “Never Can Say Goodbye.” Produced at the end of 1973 by Tony Bongiovi, Meco Monardo, and Jay Ellis at Mediasound Studios, the record had gone on to become a major club hit.

on the select discography for Flamingo, chosen by Armando Galvez

Opening night drew in 1,600 dancers, with Siano treating his packed dance floor to a special edition of LaBelle’s “What Can I Do For You?” from the album Nightbirds. “That was the first time that I turned off the sound in the middle of a record,” he says.

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

on the select discography for Flamingo, chosen by Armando Galvez

[…] backing orchestra—in 1969, and the band recorded its first chart hit in the spring of 1972 with “Walkin’ in the Rain with the One I Love.” The following summer, the Texas-born White released the group’s second album, Under the Influence of…, deploying a lush, orchestrated aesthetic that suggests […]

[…] the One I Love.” The following summer, the Texas-born White released the group’s second album, Under the Influence of…, deploying a lush, orchestrated aesthetic that suggests that, in tandem with the material emerging from Philadelphia International, the sonic symphonic had become a national […]

[…] himself as a major independent recording artist in his own right, having notched up hits with “I’m Gonna Love You Just a Little More Baby,” “I’ve Got So Much to Give,” and “Never, Never Gonna Give You Up.” Then, however, David Rodriguez and Nicky Siano paid a visit to Billy Smith, the label’s […]

[…] artist in his own right, having notched up hits with “I’m Gonna Love You Just a Little More Baby,” “I’ve Got So Much to Give,” and “Never, Never Gonna Give You Up.” Then, however, David Rodriguez and Nicky Siano paid a visit to Billy Smith, the label’s East Coast promotion under-assistant.

Radio’s hit-making monopoly came under further pressure after “Rock the Boat,” an RCA single by the unknown Hues Corporation that discotheque DJs had been spinning some eight months in advance of their radio counterparts, hit the top of the charts in July and eventually went gold.

When the similar-sounding “Rock Your Baby” by George McCrae on TK went to number one later in the same month, it became clear that club DJs were collectively generating a new style of music that was selling like crazy.

Notably, several of these special mixes have generated local market reaction which, they say, has eclipsed that of the original commercial copy.”23 Don Downing’s “Dream World” was a case in point.

[…] idea (much as it might have seemed penny-pinching to some) of putting an instrumental mix of “We’re On the Right Track” by Ultra High Frequency on the B-side of the record, and he inventively ran Moulton’s work with Downing as an A-side “commercial mix” that ran at two minutes thirty-six […]

Dance music’s impressive run continued when “Kung Fu Fighting” by Carl Douglas reached number one in November and helped 20th Century record its first two-million-dollar month—general manager Tom Rodden told Melting Pot that the release had taken off in the discos, and the company awarded gold […]

[…] taken off in the discos, and the company awarded gold records to Bobby DJ, David Rodriguez, and Frank Strivelli for their efforts — and the momentum was maintained when Midland International released “Doctor’s Orders” by Carol Douglas and sold one hundred thousand copies before radio caught on.24

They were particularly upset about the way I used the organ.” However, in October Billboard ran a story on the emerging hit, which Scepter owner Florence Greenberg credited to New York’s club crowds, and all remaining arguments were set to one side when “Do It” by the astutely renamed B.

He played this up-tempo ballad by Gladys Knight & the Pips called ‘Make Yours a Happy Home.’ ” The crowd refused to dance, only to discover that the Limelight DJ wasn’t in the mood to compromise.

Moulton used his very first column to highlight the case of Gloria Gaynor’s “Never Can Say Goodbye.” Produced at the end of 1973 by Tony Bongiovi, Meco Monardo, and Jay Ellis at Mediasound Studios, the record had gone on to become a major club hit.

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor

[…] taken off in the discos, and the company awarded gold records to Bobby DJ, David Rodriguez, and Frank Strivelli for their efforts — and the momentum was maintained when Midland International released “Doctor’s Orders” by Carol Douglas and sold one hundred thousand copies before radio caught on.24

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor

Moulton used his very first column to highlight the case of Gloria Gaynor’s “Never Can Say Goodbye.” Produced at the end of 1973 by Tony Bongiovi, Meco Monardo, and Jay Ellis at Mediasound Studios, the record had gone on to become a major club hit.

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor

on the select discography for Hollywood, chosen by Richie Kaczor