chapter sixexpansion

[…] wanted when they wanted, but second-tier spinners were less fortunate, and that unhappy band included D’Acquisto, who was denied a copy of Esther Phillips’s “What a Diff’rence a Day Makes” by Terry Serafino, head of promotions at CTI, soon after the companies introduced their new visiting hours.

[…] who ever lived, and I knew that even I could look good, like at my cousin Barry’s bar mitzvah.” But every now and again Lord would take to the dance floor, and these appearances became more frequent with the release of “Fly, Robin, Fly” by German dance act Silver Convention in the summer of 1975.

“Fly, Robin, Fly” was produced by German duo Michael Kunze and Silvester Levay as the follow-up to “Save Me,” which had caused a reasonable ripple back in March 1975.

Following a tip-off from David Todd, R&B producer Van McCoy recorded “The Hustle,” which topped the charts and popularized a new dance in its slipstream.

[…] to as the “disco market.” Flagging folk-rock group the Bee Gees released a disco track called “Jive Talkin’.” David Bowie, who was “nuts about the Three Degrees,” recorded his Young Americans album at PIR’s Sigma Sound Studios in an attempt to recreate the Philadelphia feeling.10 And Mick […]

[…] track called “Jive Talkin’.” David Bowie, who was “nuts about the Three Degrees,” recorded his Young Americans album at PIR’s Sigma Sound Studios in an attempt to recreate the Philadelphia feeling.10 And Mick Jagger declared an interest in recording a cover version of Shirley & Company’s […]

[…] feeling.10 And Mick Jagger declared an interest in recording a cover version of Shirley & Company’s “Shame, Shame, Shame,” seemingly unembarrassed that the song had been written as a taunt from black disco singers to white rock ’n’ rollers who had forgotten how to write danceable rhythms.

[…] of the finest dance hits of the year: the belatedly released “Bad Luck” by Harold Melvin & the Blue Notes, which ran at six minutes twenty-nine seconds and appeared on the group’s new album To Be True, and the freshly recorded “I Love Music” by the O’Jays both stirred up a storm on dance floors.

[…] of the finest dance hits of the year: the belatedly released “Bad Luck” by Harold Melvin & the Blue Notes, which ran at six minutes twenty-nine seconds and appeared on the group’s new album To Be True, and the freshly recorded “I Love Music” by the O’Jays both stirred up a storm on dance floors.

But “Let’s Go Disco,” recorded for the latest MFSB album, Universal Love, was a genuine stinker.

But “Let’s Go Disco,” recorded for the latest MFSB album, Universal Love, was a genuine stinker.

Bunny Sigler started to stretch his wings by producing South Shore Commission’s “Free Man,” which was released on Wand, Scepter’s subsidiary label, at the end of April, and Ronnie Baker, Norman Harris, and Earl Young began to record for a new Manhattan label called Salsoul Records around the same […]

“He wanted five thousand dollars.” A deal was struck with the African Filipino artist, and while Salsoul—which referred to the recording’s combination of salsa and soul—didn’t get air play on the Spanish stations, Bataan had a handy contact in the form of WBLS DJ Frankie Crocker, who gave heavy […]

[…] Bataan had a handy contact in the form of WBLS DJ Frankie Crocker, who gave heavy rotation to “Latin Strut” and “Aftershower Funk.” Fifty thousand albums and one hundred thousand singles later, Columbia bought the distribution rights to “Latin Strut” as well as first option on any future […]

[…] contact in the form of WBLS DJ Frankie Crocker, who gave heavy rotation to “Latin Strut” and “Aftershower Funk.” Fifty thousand albums and one hundred thousand singles later, Columbia bought the distribution rights to “Latin Strut” as well as first option on any future Mericana (the name of […]

In the spring of 1975, Montana recorded “Nice Vibes,” and the “Salsoul Hustle,” which astutely referenced Van McCoy’s smash hit and was released as the first single.

In the spring of 1975, Montana recorded “Nice Vibes,” and the “Salsoul Hustle,” which astutely referenced Van McCoy’s smash hit and was released as the first single.

Warners agreed, but Bogart got off to a shaky start with his first single, “Virginia” by Bill Amesbury, which was released in January 1974, and things deteriorated when the parent company refused to promote Bogart’s first major signing, the rock band Kiss.

Bogart’s major breakthrough followed when he was introduced to “Love to Love You Baby,” which featured the tantalizing vocals of Donna Summer and the extraordinary production of Giorgio Moroder.

It didn’t, but Sommer’s voice and looks convinced them that they had found a future star, and the new team recorded two pop records — “Hostage” and “Lady of the Night”—on their Oasis label.

It didn’t, but Sommer’s voice and looks convinced them that they had found a future star, and the new team recorded two pop records — “Hostage” and “Lady of the Night”—on their Oasis label.

Inspired by Jane Birkin and Serge Gainsbourg’s moderately successful reissue of the 1969 international hit “Je T’Aime … Moi Non Plus,” “Love to Love You Baby” came next, Moroder having asked Summer if she would be prepared to play the part of Birkin.

[…] be found a stone’s throw away, and French producers Jacques Morali and Henri Belolo were also beginning to develop a reputation as a serious production team following their work on the Ritchie Family’s debut album, Brazil, which was recorded at Sigma Sound and hailed as an instant disco classic.

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

on the select discography for Le Jardin, chosen by Michael Cappello

[…] feeling.10 And Mick Jagger declared an interest in recording a cover version of Shirley & Company’s “Shame, Shame, Shame,” seemingly unembarrassed that the song had been written as a taunt from black disco singers to white rock ’n’ rollers who had forgotten how to write danceable rhythms.

on the select discography for Le Jardin, chosen by Michael Cappello

“Dance Your Troubles Away,” Archie Bell & the Drells commanded their listeners in an end-of-year release, and Michael Gomes, ears pricked, noted that the six-minute-twenty-second single and the eponymous album “is perfect for dancing your troubles away.”30

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese

[…] producers were still producing some of the finest dance hits of the year: the belatedly released “Bad Luck” by Harold Melvin & the Blue Notes, which ran at six minutes twenty-nine seconds and appeared on the group’s new album To Be True, and the freshly recorded “I Love Music” by the O’Jays both […]

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese

Bunny Sigler started to stretch his wings by producing South Shore Commission’s “Free Man,” which was released on Wand, Scepter’s subsidiary label, at the end of April, and Ronnie Baker, Norman Harris, and Earl Young began to record for a new Manhattan label called Salsoul Records around the same […]

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese

on the select discography for 12 West, chosen by Tom Savarese