chapter sevenprominence

The two friends managed to agree to disagree until United Artists, intent on making the most of the disco market, sent advance copies of War’s “Low Rider” to not only the Pool but also to Manhattan’s best-known discotheques in mid-September.

“I was cutting a reference disc for Al Downing’s ‘I’ll Be Holding On,’ and Jose Rodriguez ran out of seven-inch blanks.” Rodriguez suggested that they put the material onto a twelve-inch blank.

[…] a DJ-only “Disco Disc” series of long-playing seven-inch singles that included album cuts of “Mad Love” by Barrabas and “Disco Queen” by Hot Chocolate, and a week later the same label released special versions of “Ease On Down the Road” by Consumer Rapport and “Tornado” from The Wiz original […]

[…] series of long-playing seven-inch singles that included album cuts of “Mad Love” by Barrabas and “Disco Queen” by Hot Chocolate, and a week later the same label released special versions of “Ease On Down the Road” by Consumer Rapport and “Tornado” from The Wiz original cast recording—again as […]

[…] that included album cuts of “Mad Love” by Barrabas and “Disco Queen” by Hot Chocolate, and a week later the same label released special versions of “Ease On Down the Road” by Consumer Rapport and “Tornado” from The Wiz original cast recording—again as noncommercial long-playing seven-inch singles.

[…] that included album cuts of “Mad Love” by Barrabas and “Disco Queen” by Hot Chocolate, and a week later the same label released special versions of “Ease On Down the Road” by Consumer Rapport and “Tornado” from The Wiz original cast recording—again as noncommercial long-playing seven-inch singles.

Warners simultaneously announced that it was going to issue an extended version of “Dance, Dance, Dance” by Calhoon on a ten-inch format at 33⅓ RPM, although a series of delays resulted in the record being released at the beginning of July on a one-sided twelve-inch disco disc that ran at six […]

By that time, Mel Cheren had stepped in to transform Moulton’s fortuitous mistake into every DJ’S dream when he released Bobby Moore’s “Call Me Your Anything Man” as a twelve-inch single—the first twelve-inch single—in the middle of June.

[…] some of Moulton’s finest work to date, including a mesmerizing six-and-a-half minute version of Patti Jo’s “Make Me Believe in You” (a Curtis Mayfield production that was originally released on Wand in 1973), Disco Gold was a long-playing album rather than a series of twelve-inch singles.

Determined to make the most of the new signing, the label mogul decided to push Double Exposure’s first release—“Ten Percent,” arranged and produced by Harris, and featuring the Salsoul Orchestra— on both the traditional seven-inch and the nascent twelve-inch formats.

[…] in the record enough to try and convince others.”11 Gibbons also believed in the percussion-heavy “Happy Song” by Rare Earth and Jermaine Jackson’s “Erucu,” and by the end of the year his technique of taking two records and working them back and forth in order to extend the drum breaks beyond the […]

[…] Gibbons also believed in the percussion-heavy “Happy Song” by Rare Earth and Jermaine Jackson’s “Erucu,” and by the end of the year his technique of taking two records and working them back and forth in order to extend the drum breaks beyond the horizon of New York’s tribal imaginary had earned […]

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

on the select discography for Outside Inn, Queens, chosen by Walter Gibbons

[…] Bongo Band when they came out with ‘Apache’ and he just kept that beat going”13 Cymande’s “Bra,” “Give It Up or Turnit a Loose” by James Brown, the Dynamic Corvettes’s “Funky Music Is the Thing” and “Get into Something” by the Isley Brothers provided other percussive nuggets for Herc’s […]

[…] Bongo Band when they came out with ‘Apache’ and he just kept that beat going”13 Cymande’s “Bra,” “Give It Up or Turnit a Loose” by James Brown, the Dynamic Corvettes’s “Funky Music Is the Thing” and “Get into Something” by the Isley Brothers provided other percussive nuggets for Herc’s venture […]

[…] going”13 Cymande’s “Bra,” “Give It Up or Turnit a Loose” by James Brown, the Dynamic Corvettes’s “Funky Music Is the Thing” and “Get into Something” by the Isley Brothers provided other percussive nuggets for Herc’s venture into breakbeat eternity, and the crowd’s crazed response persuaded him to […]

[…] It Up or Turnit a Loose” by James Brown, the Dynamic Corvettes’s “Funky Music Is the Thing” and “Get into Something” by the Isley Brothers provided other percussive nuggets for Herc’s venture into breakbeat eternity, and the crowd’s crazed response persuaded him to make the technique a part of […]

That was certainly what Cheren appeared to be thinking when he rush-released Jesse Green’s “Nice & Slow” on the new format.

[…] quality product from that formula.”24 The subsequent release in the first half of the year of “For the Love of Money” by the Disco Dub Band, Ecstasy, Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People […]

[…] year of “For the Love of Money” by the Disco Dub Band, Ecstasy, Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both […]

[…] Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both move and surprise, and any remaining doubts about the […]

[…] “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both move and surprise, and any remaining doubts about the genre’s potential were […]

[…] bandied about without any sustained regard for its supposed point of reference, and the fact that “Disco Duck” by Rick Dees and His Cast of Idiots and “A Fifth of Beethoven” by the Walter Murphy Band were two of the more recent disco-oriented singles to reach the top of the Hot 100 demonstrated […]

[…] for its supposed point of reference, and the fact that “Disco Duck” by Rick Dees and His Cast of Idiots and “A Fifth of Beethoven” by the Walter Murphy Band were two of the more recent disco-oriented singles to reach the top of the Hot 100 demonstrated the genre’s treacherously imperial potential.

Arabian Nights by the Ritchie Family included the celebratory “The Best Disco in Town.” Tom Moulton released a mix of the steamily autobiographical “More, More, More” by the Andrea True Connection, featuring adult-movie actress Andrea True.

Arabian Nights by the Ritchie Family included the celebratory “The Best Disco in Town.” Tom Moulton released a mix of the steamily autobiographical “More, More, More” by the Andrea True Connection, featuring adult-movie actress Andrea True.

Arabian Nights by the Ritchie Family included the celebratory “The Best Disco in Town.” Tom Moulton released a mix of the steamily autobiographical “More, More, More” by the Andrea True Connection, featuring adult-movie actress Andrea True.

Undisputed Truth came out with a radically improved eleven-minute-ten-second twelve-inch version of their song “ You + Me = Love.” And Dr.

Buzzard’s Original Savannah Band eponymous album, which included the hugely popular “Sour and Sweet,” “Cherchez la Femme” and “I’ll Play the Fool,” rapidly established itself as the most important and eclectic dance release of the summer.

Buzzard’s Original Savannah Band eponymous album, which included the hugely popular “Sour and Sweet,” “Cherchez la Femme” and “I’ll Play the Fool,” rapidly established itself as the most important and eclectic dance release of the summer.

Buzzard’s Original Savannah Band eponymous album, which included the hugely popular “Sour and Sweet,” “Cherchez la Femme” and “I’ll Play the Fool,” rapidly established itself as the most important and eclectic dance release of the summer.

“Message in Our Music” by the O’Jays included a beautifully contrived break that began with sharp handclaps and moved into a more contemplative mode before building to a rousing crescendo.

The infectiously sweet yet ultimately pessimistic “Goin’ Up in Smoke” by Eddie Kendricks, recorded with Norman Harris, constituted one of the Motown vocalist’s most exciting releases since “ Girl You Need a Change of Mind.” The second Salsoul Orchestra album, Nice ‘n’ Naasty, confirmed Vince […]

And this was backed with a revamp of another cut from Nice ’n’ Naasty, “ Salsoul 2001,” now renamed “Salsoul 3001,” which opened with jet engines, bird calls, congas, and timbales before soaring into a powerful combination of orchestral refrains and sound effects that were played out against a […]

And this was backed with a revamp of another cut from Nice ’n’ Naasty, “ Salsoul 2001,” now renamed “Salsoul 3001,” which opened with jet engines, bird calls, congas, and timbales before soaring into a powerful combination of orchestral refrains and sound effects that were played out against a […]

[…] this was backed with a revamp of another cut from Nice ’n’ Naasty, “ Salsoul 2001,” now renamed “Salsoul 3001,” which opened with jet engines, bird calls, congas, and timbales before soaring into a powerful combination of orchestral refrains and sound effects that were played out against a […]

Combined with the simultaneous release of Stevie Wonder’s epic Songs in the Key of Life and Donna Summer’s concept-driven Four Seasons of Love, the effect of these records was enough to persuade Billboard—which was busy gearing up for its second forum and needed a positive head-line—that disco had […]

[…] release of Stevie Wonder’s epic Songs in the Key of Life and Donna Summer’s concept-driven Four Seasons of Love, the effect of these records was enough to persuade Billboard—which was busy gearing up for its second forum and needed a positive head-line—that disco had rapidly learned how to […]

[…] still provided the foundation for a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals […]

[…] a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals with cleverly constructed rhythm […]

[…] a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals with cleverly constructed rhythm tracks.

on the select discography for Vince Aletti

Determined to make the most of the new signing, the label mogul decided to push Double Exposure’s first release—“Ten Percent,” arranged and produced by Harris, and featuring the Salsoul Orchestra— on both the traditional seven-inch and the nascent twelve-inch formats.

on the select discography for Vince Aletti

on the select discography for Vince Aletti

[…] release of Stevie Wonder’s epic Songs in the Key of Life and Donna Summer’s concept-driven Four Seasons of Love, the effect of these records was enough to persuade Billboard—which was busy gearing up for its second forum and needed a positive head-line—that disco had rapidly learned how to […]

on the select discography for Vince Aletti

[…] year of “For the Love of Money” by the Disco Dub Band, Ecstasy, Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both […]

on the select discography for Vince Aletti

[…] Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both move and surprise, and any remaining doubts about the […]

on the select discography for Vince Aletti

Arabian Nights by the Ritchie Family included the celebratory “The Best Disco in Town.” Tom Moulton released a mix of the steamily autobiographical “More, More, More” by the Andrea True Connection, featuring adult-movie actress Andrea True.

on the select discography for Vince Aletti

And this was backed with a revamp of another cut from Nice ’n’ Naasty, “ Salsoul 2001,” now renamed “Salsoul 3001,” which opened with jet engines, bird calls, congas, and timbales before soaring into a powerful combination of orchestral refrains and sound effects that were played out against a […]

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

Undisputed Truth came out with a radically improved eleven-minute-ten-second twelve-inch version of their song “ You + Me = Love.” And Dr.

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

on the select discography for Vince Aletti

[…] a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals with cleverly constructed rhythm […]

on the select discography for Vince Aletti

on the select discography for Vince Aletti

Arabian Nights by the Ritchie Family included the celebratory “The Best Disco in Town.” Tom Moulton released a mix of the steamily autobiographical “More, More, More” by the Andrea True Connection, featuring adult-movie actress Andrea True.

on the select discography for Vince Aletti

[…] still provided the foundation for a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals […]

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

Undisputed Truth came out with a radically improved eleven-minute-ten-second twelve-inch version of their song “ You + Me = Love.” And Dr.

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for 12 West, chosen by Jimmy Stuard

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

[…] still provided the foundation for a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals […]

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

As the prelude took shape, the intro developed a sharper focus, and the perfect record for this part of the evening materialized when a friend handed Mancuso a copy of “Land of Make Believe” by Chuck Mangione with the Hamilton Philharmonic Orchestra.

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

“Message in Our Music” by the O’Jays included a beautifully contrived break that began with sharp handclaps and moved into a more contemplative mode before building to a rousing crescendo.

on the select discography for Loft 1975–76, chosen by David Mancuso

It’s up there with ‘Love Is the Message.’ ” Around the same time, Mancuso also stumbled into an ideal reentry record, “Anambra” by Ozo, which worked so well it could have been made for the Loft and almost certainly couldn’t be heard in any other dance venue.

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

on the select discography for Loft 1975–76, chosen by David Mancuso

As the prelude took shape, the intro developed a sharper focus, and the perfect record for this part of the evening materialized when a friend handed Mancuso a copy of “Land of Make Believe” by Chuck Mangione with the Hamilton Philharmonic Orchestra.

It’s up there with ‘Love Is the Message.’ ” Around the same time, Mancuso also stumbled into an ideal reentry record, “Anambra” by Ozo, which worked so well it could have been made for the Loft and almost certainly couldn’t be heard in any other dance venue.

Jones had just come out with her first singles, “That’s the Trouble” and “Sorry,” both of which were produced by Tom Moulton and released on Beam Junction in 1976.

Jones had just come out with her first singles, “That’s the Trouble” and “Sorry,” both of which were produced by Tom Moulton and released on Beam Junction in 1976.

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

[…] still provided the foundation for a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals […]

on the select discography for Gallery 1974–76, chosen by Nicky Siano

Determined to make the most of the new signing, the label mogul decided to push Double Exposure’s first release—“Ten Percent,” arranged and produced by Harris, and featuring the Salsoul Orchestra— on both the traditional seven-inch and the nascent twelve-inch formats.

on the select discography for Gallery 1974–76, chosen by Nicky Siano

Buzzard’s Original Savannah Band eponymous album, which included the hugely popular “Sour and Sweet,” “Cherchez la Femme” and “I’ll Play the Fool,” rapidly established itself as the most important and eclectic dance release of the summer.

on the select discography for Gallery 1974–76, chosen by Nicky Siano

Buzzard’s Original Savannah Band eponymous album, which included the hugely popular “Sour and Sweet,” “Cherchez la Femme” and “I’ll Play the Fool,” rapidly established itself as the most important and eclectic dance release of the summer.

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

[…] a successful club record, however, and Moulton’s mixes of “My Love Is Free” by Double Exposure, “Don’t Leave Me This Way” by Thelma Houston, and “Disco Inferno” by the Trammps extended the run of made-for-disco records that managed to combine powerful vocals with cleverly constructed rhythm […]

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

[…] year of “For the Love of Money” by the Disco Dub Band, Ecstasy, Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both […]

on the select discography for Gallery 1974–76, chosen by Nicky Siano

[…] Passion & Pain’s “Touch and Go,” “Turn the Beat Around” by Vicky Sue Robinson, Diana Ross’s “Love Hangover,” and “That’s Where the Happy People Go” by the Trammps certainly suggested that disco still had plenty of potential to both move and surprise, and any remaining doubts about the […]

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

on the select discography for Gallery 1974–76, chosen by Nicky Siano

Undisputed Truth came out with a radically improved eleven-minute-ten-second twelve-inch version of their song “ You + Me = Love.” And Dr.

on the select discography for Gallery 1974–76, chosen by Nicky Siano