Here are recordings from the 1960's and very early 1970's that were popular in discotheques in various parts of the world. One could call this show "the search for the origins of DISCO". We have offered information about some of the artists. A little less than a month from now we are celebrating the 45th anniversary of THE GROOVE.
We hope you enjoy today's journey into the past. And we really hope you can join us on that special anniversary show on July 6!
| THE INTRUDERS
The GAMBLE RECORDS' super-group THE INTRUDERS recorded influential songs in the 1960's like "Slow Drag", "Cowboys to Cowgirls" and "(Love Is Like A) Baseball Game". These songs are classic GAMBLE & HUFF productions that inspired a whole generation of refined SOUL artists like THE UNIFICS, THE CHI-LITES, THE STYLISTICS and THE DRAMATICS. Songs like their massive hit "Cowboys To Girls" and "Slow Drag" were extremely popular slows in American, British and European discotheques. GAMBLE & HUFF's success with THE INTRUDERS gave Columbia Records the enthusiasm to finance the launching of the Philadelphia International label. GAMBLE & HUFF have evidently acknowledged that their work with THE INTRUDERS was the foundation of what they called "The Sound of Philadelphia". That "Sound of Philadelphia" would become one of the most popular and influential sounds in the history of DISCO! We specifically chose to spin "Slow Drag" because it really was a song about romance and dancing in a discotheque. References to the boogaloo dance are also in there... "Hmm, closer I wanna be closer to you Closer (I like to get close) Like to be close to you, baby (I like to get close To the one I love) Oh baby, I like to get close to the one I love So I slow drag My girl, she asked me how come I don't do the boogaloo? (Boogaloo) I told her, baby 'cause I can't get close enough to you (Close to you) (Closer, closer) I told her that's the only dance That I like to do, it's a dance I can hold her yet steal a little kiss or two Oh baby, I like to get close to the one I love So I slow drag And I want to slow down with you, baby I like to get close to the one I love So I slow drag My girl, she asked me out to the party Her friends told her that I was a drag (Drag) Just because I don't do the dance the way they want me to Can't they see that I'm in a different bag? Oh baby, I like to get close to the one I love So I slow drag And I want to slow down with you, baby I like to get close to the one I love So I slow drag Ooh, hold me close Hold me closer to you And all you got to do is squeeze me, baby And hold me closer to you Oh baby, I like to get close to the one I love So I slow drag And I want to slow down with you, baby I like to get close to the one I love So I slow drag I like to get close to the one I love So I slow drag I like to get close to the one I love So I slow drag I like to get close to the one I love So I slow drag" |
| SLOW DRAG THE INTRUDERS - 7" - GAMBLE |
| THE YOUNG-HOLT UNLIMITED
After leaving the legendary RAMSEY LEWIS' JAZZ TRIO, the drummer ISAAC "REDD" HOLT and bassist ELDEE YOUNG joined with pianist DON WALKER to form the YOUNG-HOLT TRIO in 1966 and had a minor hit called "Wack-Wack". In 1967, the group renamed itself YOUNG-HOLT UNLIMITED, replacing DON WALKER with the Canadian pianist KEN CHANEY. They were employed by the Brunswick label as their studio house band, much the same way the FUNK BROTHERS were hired by Motown. Under their new name, the group scored a massive international hit with "Soulful Strut," the backing instrumental track from "Am I the Same Girl" by BARBARA ACKLIN (which we're mixing into it!) "Soulful Strut" sold a million copies with the gold record awarded by the American R.I.A.A. in 1969. Follow-up releases failed to match it's commercial success and the group disbanded in 1974. Young and Holt continued to play in Chicago small bands in many live performances, while KEN CHANEY enjoyed a career in CONTEMPORARY JAZZ and AMERICAN DISCO production. The band has been sampled over 200 times, most often by HIPHOP artists. |
| SOULFUL STRUT THE YOUNG-HOLT UNLIMITED - SOULFUL STRUT (LP) - BRUNSWICK |
| BARBARA ACKLIN
Chicago's BARBARA ACKLIN is one of America's most underappreciated SOUL singers, although she did enjoy several hits. Her first hit was "Show Me The Way To Go" a 1966 duet with Gene Chandler followed by her most successful hit was "Love Makes A Woman" in 1968. These days she is mostly famous for the early 1970 AMERICAN DISCO track "What's It Gonna Be" which we played on The Groove episode 'Discotheque dress for party dancing...' The link to that show is https://cod.ckcufm.com/programs/131/22248.html. She is even more famous for "Am I The Same Girl" from 1968 featuring the "Soulful Strut" music of THE YOUNG-HOLT UNLIMITED. Cover versions of which became later huge hits for DUSTY SPRINGFEILD and the group SWING OUT SISTER. |
| AM I THE SAME GIRL BARBARA ACKLIN - 7" - BRUNSWICK |
| POPPIN' POPCORN THE SOUTH STREET SOUL GUITARS - 7" - SILVER FOX |
| THE SALTY PEPPERS
THE SALTY PEPPERS were a studio band organized by MAURICE WHITE in Chicago in 1968. They would have two singles before they would evolve into EARTH,WIND & FIRE. Members included CHARLES HANDY, DON MYRICK, DON WHITEHEAD, DONNY HATHAWAY, FRED WHITE, LOUIS SATTERFIELD, MAURICE WHITE, PETE COSEY and WADE FLEMONS. |
| LA, LA, LA (PART 1) THE SALTY PEPPERS - 7" - TEC |
| TEE FLETCHER
According to the last.fm website: "THOMAS FLETCHER was a brilliant songwriter who had been kicking around Atlanta for years before meeting JESSE JONES at the Playboy club on Luckie Street in early 1968. His resume included a brief stint at Wendell Parker’s Shurfine label and a handful of writing credits for locals LARRY JAMES, THE BARONS, RICHARD MARKS, and JIMMY TIG. Performing under the name TEE FLETCHER, he made up for his lack of polish with sheer determination, a quality Jones could appreciate. Arranged by James Hudson, “Down In The Country” is vintage rural funk, even spending a few verses on shouting out the bosses of the southern sound. The flip, “Would You Do It For Me,” has its hand in WILSON PICKETTS’s bag, traditional up-tempo soul with a crushing one-handed piano pound. FLETCHER’s vocals are on the mark throughout but lack a strong distinctive quality. He would continue working with JONES intermittently throughout the year, giving his best performance on the stirring “All Because Of You.” FLETCHER dipped his toes into nearly every river flowing through the Atlanta scene, and even found himself on a nationally distributed label when Shurfine leased “Thank You Baby” to Josie. Well-liked, creative, and hard working, TEE FLETCHER never had a hit but remains a key elder of SOUTHERN SOUL." Thanks to an Oreo TV commercial that used a portion of the song, "All Because Of You" has gained a whole new level of international popularity! |
| ALL BECAUSE OF YOU TEE FLETCHER - 7" - TRAGAR |
| EDDIE BO
For deejays and discotheques all over the United States, Jamaica and United Kingdom in the late 1960's, EDDIE BO was the man! He was the voice of working class America! He made the sound that people enjoyed. Millions danced to his records and fell in love with his personable and down-to-earth vocal style! His songs like "From This Day On" became essential parts of people's lives just as songs in the 1970's like "Young Hearts Run Free" by CANDI STATON or "You To Me Are Everything" by REAL THING were to people then. We're only playing two EDDIE BO records today: "From This Day On" and "We're Doing It (Thang)" which he recorded with THE SOUL FINDERS. He was EDWIN JOSEPH BOCAGE (September 20, 1930 – March 18, 2009), an extremely active New Orleans powerhouse of songs and grooves that touched various generations of dancers especially those who went to African American discos in the United States in the late 1960's. Here are the lyrics to "From This Day On": "From this day on I will follow You I will live the life That You call me to From this day on I will sing Your praise I will shine the light of Your love Oh, everyday I know that there will be times When I may wonder why This road seems so narrow But I'm telling You now I'm not turning around I'm making this vow From this day on I will follow You I will live the life That You call me to From this day on I will sing Your praise I will shine the light of Your love Oh, everyday I gave You all of my heart You gave me a new start You are the Almighty Lord, I'm standing my ground With Your love all around I belong to You now From this day on I will follow You Mmm, I will live the life That You call me to From this day on I will sing Your praise I will shine the light of Your love Oh, from this day on I will follow You I will live the life That You call me to From this day on I will sing Your praise Oh, I will shine the light of Your love Oh, from this day on This day on From this day on From this day on" |
| FROM THIS DAY ON EDDIE BO - 7" - SEVEN B |
| THE FOUNDATIONS
THE FOUNDATIONS were a British band active between 1967 and 1970. They were extremely popular in the NORTHERN SOUL scene. The group had West Indian, English and Sri Lankan members. Their 1967 debut single "Baby Now That I've Found You" was widely popular and commercially successful on both sides of the Atlantic Ocean. |
| BABY, NOW THAT I'VE FOUND YOU THE FOUNDATIONS - 7" - UNI |
| THE MAR-KEYS
Originally named THE ROYAL SPADES, THE MAR-KEYS was a hired studio house band for the legendary STAX label, just as THE YOUNG-HOLT UNLIMITED were for Brunswick Records and the FUNK BROTHERS were for Motown. They provided music for various historic Stax recordings in the early 1960's and played an important role in shaping the "MEMPHIS SOUND". AL JACKSON JR., BROOKER T. JONES, CHARLES AXTON, CHARLIE FREEMAN, DON NIX, DONALD "DUCK" DUNN, FLOYD NEWMAN, ISAAC HAYES, JERALD SMITH, JOE ARNOLD, RICK KEEFER, RONNIE STOOTS, STEVE CROPPER, TERRY JOHNSON and WAYNE JACKSON were all original members of THE MAR-KEYS. BROOKER T. JONES, DONALD "DUCK" DUNN, STEVE CROPPER and AL JACKSON JR. left the band to form the very successful BROOKER T & THE M.G.'s. That group also was hired by Stax Records as a studio house band before they had their own hits like "Green Onions” and “Hip Hug-Her”. WAYNE JACKSON joined THE MEMPHIS HORNS which played the same role at Stax. ISAAC HAYES pursued a solo career which was stellar. His contribution to discotheque music was phenomenal. We have celebrated the contributions of ISAAC HAYES extensively here on this show. One can always check out The Groove from February 1st, 2020 - a BLACK HISTORY CELEBRATION OF THE SOPHISTICATED SOUL MOVEMENT PART 1 - ISAAC HAYES! The link to that show is: https://cod.ckcufm.com/programs/131/46789.html. After a while the remaining members of THE MAR-KEYS released various successful singles of their own starting as early as 1961. We are spinning "Grab This Thing, Part 2" from 1965. It was a favourite in African American discos for years. In fact some dj's were still programming it in Canada and England in the early 1970's. |
| GRAB THIS THING, PART 2 THE MAR-KEYS - 7" - STAX |
| BILLY "SUGAR BILLY" GARNER
The Detroit SOUL singer and songwriter WILLIE GARNER also went under the names BILLY GARNER, SUGAR BILAL, BILLY "SUGAR BILLY" GARNER, and several other variations. He always offered a raw "JAMES BROWN inspired" sound. |
| I GOT SOME BILLY "SUGAR BILLY" GARNER - 7" - NEW DAY |
| THE SOUL FINDERS
New Orleans studio musicians CHUCK CARBO and MARILYN BARBARIN would join EDDIE BO to become THE SOUL FINDERS. They released various records under that name. |
| WE'RE DOING IT (THANG) PART 2 EDDIE BO AND THE SOUL FINDERS - 7" - BO-SOUND |
| WILBUR BASCOMB & THE ZODIACT
WILBUR BASCOMB is a American jazz-funk bassist and songwriter. He has recorded with GALT MCDERMOT, JEFF BECK, JAMES BROWN, ARTHUR RUSSELL and B.B. KING. He is well-known for his performance on JEFF BECK's 'Wired' album and his 1979 Jazzy AMERICAN DISCO opus 'And Future Dreams' on the H & L label. BASCOMB also performed with ARTHUR RUSSELL and DAVID BYRNE on the recording of the legendary DINASOUR single "Kiss Me Again" on Sire Records. A whole new generation of dj's have enjoyed him as WILBUR "BAD" BASCOMB in the early 1990's. Together with BERNARD "PRETTY" PURDIE he released, for budding HIPHOP, BREAKS and TRIPHOP dj's 'The Electric Bass Sessions - Pretty Bad Breaks". Both volume 1 and 2 of the series were released by Tuff City Records in 1992. The second of which was called 'The Upright Bass Sessions - Pretty Bad Breaks Volume 2'. Then in 1993 he put out 'Electric Bass Riffs For Dj's' albums also released by the Tuff City label. They were popular DJ TOOLS for budding TURNTABLISTS! |
| JUST A GROOVE IN "G" WILBUR BASCOMB & THE ZODIACT - 7" - CARNIVAL |
| THE MOHAWKS
In the late 1960's and early 1970's there were popular record shops in cities like New York and Montreal that offered and sold multitudes of 7" singles and albums for dj's etc. They had massive selections of singles that were REGGAE, DUB, FUNK, AFRICAN, SOUL, early DISCO, old SKA, and a blend of music that combined those and so many other styles. The British Studio Concept band THE MOHAWKS were a perennial favourite in those now legendary record stores. Often incorrectly identified as Jamaicans at the time, THE MOHAWKS offered a sound that was a blend of different styles. Many sources insist that THE MOHAWKS were early DISCO artists. Singles they had like "The Champ" that were really popular in discos on both sides of the Atlantic during the late 1960's and early 1970's. "The Champ" was the title track to their 1968 album and as a single, it was released by Pama Records in the U,K,, Atlantic Records in Italy and Germany, Philips in The Netherlands, Disc Young/Joc in France, Supreme Records in Belgium, J.J. Records in Jamaica, and the His Master's Voice label in Nigeria and Ghana. They had various singles with a range of styles including REGGAE like their cover-version of "A Whiter Shade Of Pale" in the late 1970's. The group was initially fronted by ALAN HAWKSHAW who came up the concept. There was also HARRY PALMER, HASKETH GRAHAM, LES HURDIE and SIDNEY RODGERS. HARRY PALMER, with his brothers CARL and JEFF ran the PAMA label. The late ALAN HAWKSHAW was a British pianist, composer and producer known for composing themes for movies and TV programs. Unknown to most television viewers in the UK, ALAN HAWKSHAW is almost certainly best known for his theme music and jingles used for the TV quiz show "Countdown". He also offered material for various LIBRARY records for labels like K.P.M. Music. He had extensive session work for artists such as OLIVIA NEWTON JOHN, DAVID BOWIE, and CLIFF RICHARD. His work with ALEC R. COSTANDINOS' LOVE & KISSES, DONNA SUMMER and MADEILINE BELL established his solid credentials in the EURODISCO industry during the late 1970's. He was a major figure in the BRITISH DISCO scene with his group LOVE DE-LUXE. The LOVE DE-LUXE song "Here Comes That Sound Again" is now a legendary recording. To illustrate part of the importance of it here is a passage from The Groove 40th anniversary episode - the 'Real History of Disco pt.2' from July 6th, 2019. The link to that is: https://cod.ckcufm.com/programs/131/43745.html : " ...There was a backlash against DISCO rapidly growing, especially in the United States where the press widely publicised "anti-disco rally's". Although it went back to the early 1970's, the expression "DISCO SUCKS!" really started becoming common in 1979. The medium itself was getting very demanding, largely due to the effects of deejays playing a sharper concentration of beat-structures on the largest and most concentrated scale than ever before. Discos were getting wilder. There was a great deal of illegal drug use, especially with cocaine, both in the clubs and in some of the recording studios and record company offices. There was a message prevailing through the various levels of interactive communication in Disco that, more than ever before, promoted various applications of sexual activity. Apart from the great 'highly suggestive' EURODISCO classics like "Love In C Minor" contributing to that effect, there was steady flow of suggestive AMERICAN DISCO records like "In The Bush" by MUSIQUE and the extremely sexual "Come On And Do It (Special Disco Remix)" by POUSSEZ!. Many news stories in 1979 really started focusing on outrageous activity in Discotheques like New York's Studio 54; a club popular among politicians, the business and social elite, movie stars and successful recording artists. It is very important to remember that these effects were being felt in discos all over the world. The behaviour, that is still being talked about by various sources; that was found in Studio 54, was not really that unique. An American news media obsessed with the rich and famous concentrated on Studio 54. Now some sources that offer other historic accounts about Disco talk only about Studio 54, almost as if it was the only Discotheque at time. There was an intensifying revulsion in various sectors of the public to the AMERICAN DISCO industry as if it was something that was extremely sleazy and possibly dangerous. That usual sound of AMERICAN DISCO was loosing ground. There was a popular BRITISH DISCO song in 1979 that many at the time had the oddest reaction to because it seemed to mock those pressures of the day. This is it, the LOVE DE-LUXE hit "HERE COMES THAT SOUND": " The effects of "Here Comes That Sound" continued well into the 1980's. Actually the British HIPHOP/HOUSE/ELECTRO producer SIMON HARRIS wrapped it into a history obsessed MEGAMIX in 1988 for the FFRR label. It introduced "Here Comes That Sound" to a whole new generation. |
| THE CHAMP THE MOHAWKS - 7" - JJ |
| RESPECT ARETHA FRANKLIN - 7" - ATLANTIC |
| THE SOUL SURVIVERS
The SOUL SURVIVERS were a Philadelphia based group founded by brothers RICHARD and CHARLIE INGUI and KENNY JEREMIAH. Initially they called themselves THE DEDICATIONS in the early 1960's and had a series of minor hits like ""Shining Star" in 1963 and "I Ain't A Bit Sorry" in 1965. Their 1967 hit single under the name THE SOUL SURVIVERs “Expressway to Your Heart,” was actually the first hit that was produced by GAMBLE & HUFF. And it was a massive hit! Recorded before the Gamble Records period, it showed the music industry what level of talent in terms of composition and production the GAMBLE & HUFF team possessed. THE SOUL SURVIVERS would have several other minor hits like "Mama Soul" and "Mission Impossible" and also ended up signing to the Philadelphia International and T.S.O.P. labels with little success. |
| MAMA SOUL THE SOUL SURVIVERS - 7" - ATCO |
| MARLENA SHAW
The late MARLENA SHAW recorded for the Cadet label out of Chicago from 1965 to 1969 with considerable success. That was especially the case with her 1969 single "California Soul", written by ASHFORD & SIMPSON; actually for the 5TH DIMENSION. It was hot in discotheques in the United States in 1969 and 1970. Sampled and remixed by numerous artists and dj's like DJ SHADOW & CUT CHEMIST, DIPLO, etc. Rereleased by the Jazzman label in the U.K. in 2003, it continuously remains a favourite for "RARE GROOVE" dj's with some programmers buying the original pressing for hundreds of dollars. In 1970 MARLENA SHAW moved to the Blue Note label as her strong voice continued to established her in the American SOUL scene. By the mid 1970's the DISCO boom began to influence the sound of Blue Note which released in 1976 "It's Better Than Walkin' Out" by MARLENA SHAW, which was the very first 12" single on the label. Signing to Columbia Records in 1977, MARLENA SHAW enjoyed better record sales; her first album included "Pictures And Memories" which many discos in the United States and France programmed heavily. MARLENA SHAW, however, is often more remembered by hardcore AMERICAN DISCO fans for her cover-version of Diana Ross's "Touch Me In The Morning". Active until her death in January, 2024, MARLENA SHAW continues to contribute her distinctiveness to discotheque music. TREVOR WALKER did a tribute to her on his show from February 2nd, 2024 called [Marlena&Micheal]. Here is a link to that show: https://cod.ckcufm.com/programs/120/63845.html |
| CALIFORNIA SOUL MARLENA SHAW - THE SPICE OF LIFE (LP) - CADET |
| GARLAND GREEN
Born in Dunleith, Mississippi, GARLAND GREEN is a SOUL singer, pianist and lyricist who had a couple of hits in the late 1960's including "I Can't Believe You Quit Me" and the most bigger success for him - "Jealous Kind Of Fella". His 1983 album 'Garland Green" featured the cool "You Make Me Feel So Good" which was evidently heavily played by discos in Japan. |
| I CAN'T BELIEVE YOU QUIT ME GARLAND GREEN - 7" - UNI |
| JACKIE LEE
Very few artists had an impact on so many periods of discotheque music as did the late EARL NELSON. He recorded under several names over the years like JAY DEE, CHIP NELSON, EARL COSBY, and JACKY LEE. We are playing one of his JACKY LEE recordings from 1968. EARL NELSON was born in Louisiana and eventually moved to Los Angeles. Under his original name he joined THE HOLLYWOOD FLAMES in the 1950's. THE HOLLYWOOD FLAMES were a popular DOO WAP band and a young EARL NELSON fitted right in. He also recorded under the name EARL NELSON & THE PELICANS recording the single "I Bow To You" in 1957 that included some members of THE HOLLYWOOD FLAMES. That same year he started collaborating with BOBBY "BACY FACE" BYRD eventually recording together as BOB & EARL with hits like "You Made a Boo-Boo" in 1958 and the wildly popular "Harlem Shuffle" 1n 1963. Many sources claim that EARL NELSON is best remembered for the iconic "Harlem Shuffle". That is not entirely accurate. He was a special vocalist for many recordings by artists like BOBBY DAY's "Rock-in Robin" in 1958. There was also "The Duck"! Intrigued by the explosive success of CHUBBY CHECKER'S "Twist" in discotheques in Europe and across the United States. EARL NELSON got involved with the race to replace the popularity of "The Twist" in these clubs that wrapped up many early SOUL singers and artists. In the years 1962 to 1965 literally hundreds of small discotheques spread across the United States and Quebec, Canada. Young patrons wanted to keep up with the new dances. Dozens of specialized records were released to service these ventures. Under the names EARL COSBY and JACKIE LEE, he released records that were extremely popular in these discotheques. His single as JACKIE LEE "The Duck" in 1965 would become the most popular and commercially successful example. Under the name of EARL COSBY he released songs like "Ooh Honey Baby" in 1965 and "Land Of A Thousand Dances" in 1966. The song "Land Of A Thousand Dances" chronicled the variety of different dances popular in the discotheques. In a press that attempted to completely erase the early discotheque scene from memory in the United States it has often been said that 'Jackie Lee had a huge dance novelty hit with “The Duck”' As most of these discotheques vanished many households would have copies of "The Duck" to play at parties. His 1968 single "African Boo-Ga-Loo" continued the same vein to a much lessor degree. All the same it is important because it was popular in an entirely separate in discotheque history that saw hundreds of African American discos appear to offer SOUL and FUNK recordings like some of those featured on this show. Then EARL NELSON (as JACKY LEE) entered a new period. He was a long time friend of BARRY WHITE. The BOB & EARL track “Harlem Shuffle” in 1963 was arranged by BARRY WHITE. A few years later, in 1965 BARRY WHITE was in the background, who together with JACKIE was composing the flip side of the single “Ooh Honey Baby”. In the early 1970's EARL NELSON would rename himself JAY DEE. His good friend BARRY WHITE was becoming extremely successful with his SOPHISTICATED SOUL masterpieces involving LOVE UNLIMITED, LOVE UNLIMITED ORCHESTRA, or just BARRY WHITE. WHITE produced a SOPHISTICATED SOUL album for JAY DEE in 1974 for the Warner Bros. label entitled 'Come On In Love'. |
| AFRICAN BOO-GA-LOO JACKIE LEE - 7" - KEYMEN |
| THE BARON
Many RARE GROOVE dj's and record collectors are searching for copies of the "organ-driven funk" single from France by THE BARON. It is "Watts New" released in 1969. The artist was the late BERNARD ESTARDY. Some sources have identified him as the best link between the peculiar early FRENCH DISCO of the 1960's and the widely celebrated FRENCH SOUND in EURODISCO that ruled much of 'mondo disco' in the late 1970's. Those who prefer to elevate artists like SERGE GAINSBOURG and NINO FERRER to such a level of influence fail to realize that BERNARD ESTARDY regularly continued to provide cutting edge discotheque music for years, right into the late 1970's. He was a member of the popular French group LES GOTTAMOU from 1964 to 1966. LES GOTTANOU included BERNARD ESTARDY with NINO FERRER, and RICHARD HERTEL. They had two popular JERKS: "Gamma-Gooche" and "Gribouille" from the 1966 7" EP entitled 'Jerk Avec Les Gottamou - Gamma-Goochee' on the Riviera label. In fact we offer the back cover of their 1966 7"EP called 'Dansez Le Monkiss' as the illustration above for this show's playlist. We are playing "Gribouille" later on in this show. They competed with plenty of other artists who at the time offered JERK tracks for the particular dance "Le Jerk" that was popular in French discos during the late 1960's like MANU DIBANGO, PIERRE HENRY & MICHEL COLOMBIER, LES RYCO JAZZ, and JACQUES LOUSSIER. We are also actually playing "Clara's Jerk" by JACQUES LOUSSIER near the end of this show. BERNARD ESTARDY was a popular sound engineer for artists like JOHNNY HALLYDAY, FRANCOIS HARDY, MIREILLE MATHIEU, SHEILA, JOE DASSIN, DALIDA, PASCAL DANEL, and PATRICIA KAAS. He also collaborated with CLAUDE FRANÇOIS. When he wasn't working on the recording of other artists, BERNARD ESTARDY was recording material for library records on labels like Gonzaï Records, Editions SDIG, and TELE MUSIC and also recording his DISCO records under the names THE BARON (or LE BARON), LA FORMULE DU BARON, THE BARONET, SUBWAY, BANZAII, LORD SUBWAY, and L.E.B. HARMONY. Under THE BARON name he obviously released the previously mentioned single "Watts New" in 1969. It was only programmed is discotheques in France and Quebec, Canada. That same year, under the name LA FORMULE DU BARON, he offered the notorious "La Formule Du Baron" LP that ended up being released again in 1971 and 1972. Many JAZZ FUNK tracks on the LP like "Cha Tatch Ka", "La Valse Du Vepar" and "Sister Charlotte Abbaye" were popular in discotheques in Paris. Then in 1973, under the name THE BARONET, BERNARD ESTARDY released the instrumental "The Pelican Dance". It was the first of several records for THE BARONET name and it was uptempo FRENCH DISCO. It is early FRENCH SOUND that really foreshadowed so much amazing DISCO to come out of France during the rest of the 1970's. According to the Discogs website, "The song's instrumental bridge was famously used as opening theme of the ZOO-centric Polish program "Z Kamerą wśród Zwierząt" It would be very popular throughout the European discotheque industry bringing on a new period in France of DISCO music that really lasted until 1975. "The Pelican Dance" would actually be released several times in 1974 and 1975. THE BARONET would return in 1974 with the suggestive SLOW called "Le Telephone". It was BERNARD ESTARDY'S most successful SLOW in 1974. Under the name LORD SUBWAY he released the song "Lou Ann" with much less success. "Le Telephone" had a regal symphonic musical pattern that exuded a sense of sophistication and intrigue. In discos it was an addictive trip with dj's having to repeat it immediately, several times over sometimes. It was evidently very popular in discos in Istanbul. Discos in Quebec, Canada, like "Le Soleil" in Hull (now Gatineau) were still playing it in 1978. With the group BANZAII he also offered "Chinese Kung Fu" and the tribal "Rythm Kung Fu"; more examples of EURODISCO answer records to the SU BIDDU produced "Kung Fu Fighting" by CARL DOUGLAS. With BANZAII in 1975 he would participate in the release of "Viva America" featuring LES CLODETTES. "Viva America" leaned towards the BIMBO JET sound that was all the rage at the time in France. Under the name SUBWAY, BERNARD ESTARDY came out the retro influenced quasi porn instrumental "Sex Vibrations" in 1975. He would write and arrange a whole host of different artists. Most notable of which is the uplifting "A Chacun Son Enfance" in 1976 that featured the vocals of the popular French boy band RÉCRÉATION. It was one of BERNARD ESTARDY'S finest moments! In 1976, BERNARD ESTARDY returned to the name he used back in 1969. Yet instead of "THE BARON" he identified himself as LE BARON (evidently - Baron de Mehouilles), The track was somewhat popular, especially in older conservative discotheques, It was called "Le Sifflet Du Baron". His writing and arranging contributed to L.E.B. HARMONY that did very well in 1978 with the album 'Disco Boogie'. A L.E.B. HARMONY 12" single was released that year by the Detroit based Dynamo Records. It included an instrumental of "A Chacun Son Enfance" entitled "Childhood Forever". It was the first and only time BERNARD ESTARDY'S music was sold and became somewhat popular in the United States. |
| WATTS NEW THE BARON - 7" - POLYDOR |
| THE MUSIC MAKERS FEATURING BOBBY ROBINSON
Both versions (1 & 2) of "Spring Fever" by THE MUSIC MAKERS FEATURING BOBBY ROBINSON are dreamy orchestral swims in an ocean. Performing with THE MUSIC MAKERS from Gamble Records is the late BOBBY ROBINSON. He was a long time record store owner in The Bronx, a musician, composer and producer. ROBINSON produced hits by WILBERT HARRISON, THE SHIRELLES, ELMORE JAMES, LEE DORSEY, GLADYS KNIGHT & THE PIPS and KING CURTIS. BOBBY ROBINSON also had a personal connection to the HIPHOP scene in the New York City area. He ended up successfully producing legendary HIPHOP artists like SPOONIE GEE, GRANDMASTER FLASH & THE FURIOUS FIVE, and DOUG E. FRESH. |
| SPRING FEVER (PART I) THE MUSIC MAKERS FEATURING BOBBY ROBINSON - 7" - GAMBLE |
| UNITED (PART 1) THE MUSIC MAKERS - 7" - GAMBLE |
| TEARS GIORGIO - SON OF MY FATHER (LP) - ABC/DUNHILL |
| ES WAR NUR EIN TRAUM SHIROCCO - 7 - ARIOLA |
| TOM JONES
Off Baseline Road, here in Ottawa, there was a disco in the early 1970's called 'The Underground'. Once a young dj there had a conversation with a more experienced semi-retired dj about spinning back in the 1960's. The more experienced dj added to the conversation by advising his younger counterpart that "You always gotta have TOM JONES ready to play. The ladies won't forgive you otherwise." The 1969 song "Daughter Of Darkness" by TOM JONES was especially popular in European discotheques where some dj's used to play two copies by mixing the second and maintaining the uptempo portion. |
| DAUGHTER OF DARKNESS TOM JONES - 7" - DECCA |
| EVERLASTING LOVE THE LOVE AFFAIR - 7" - CBS |
| THE EQUALS
Many sources identify "Baby Come Back" by THE EQUALS as the very first DISCO record! With it's heavy Funky bass it was an inviting physical love song that European discotheques couldn't get enough of. Some say that it was simply a ROCK song with heavy bass. There were arguments about the significance of "Baby Come Back" raging on amongst observers as early as the mid 1970's. THE EQUALS were founded in London, England in 1964 and they were noted as being an early major interracial ROCK group in the UK. The original members included EDDY GRANT from Guyana on lead guitar, JOHN HALL from London, England on drums, DERVAN "DERV" GORDON from Jamaica on vocals, PATRICK "PAT" LLOYD from London on rhythm guitar, and LINCOLN GORDON from Jamaica on bass guitar. When they would often appear live around London in the mid 1960's they were evidently popular because they energetically mixed early ROCK and American R&B with SKA and BLUEBEAT. They already had a somewhat successful album out when they released "Baby Come Back" in 1967. While it was notable but not extremely popular initially in the U.K,, it took off in the discotheques all over continental Europe. It ended up selling millions of records when British and North American radio stations and discotheque dj's began playing it. Many dj's declared it to be a new music because it was a combination of different styles. That is where the notion that THE EQUALS had, with the release of "Baby Come Back" created music for the disco - DISCO music became popular. THE EQUALS had dozens of very successful records after "Baby Come Back" and they were all enthusiastically programmed in European discotheques throughout the late 1960's and early 1970's. Some collections prepared for conservative Italian discotecas in the late 1970's still insisted upon including tracks by THE EQUALS. They were so intensely popular through Europe that there were Italian acts like ROCKY ROBERTS that were said to be local "Italian language" competition for THE EQUALS as much as they were competition for American SOUL and FUNK artists like JAMES BROWN. Many sources say that other "early disco" and SCHLAGER/BUBBLEGUM artists became popular because of influence from the music of THE EQUALS. That would include artists like ROCK ROMANCE, MICHAEL HOLM, RICKY SHANE, GABY BERGER, ANTOINE from Italy, and USCHI GLAS. We are featuring both MICHAEL HOLM and ANTOINE later on this show! |
| BABY COME BACK THE EQUALS - 7" - PRESIDENT |
| GIORGIO MORODER / PIERO UMILIANI
Many sources describe a group of extremely private discotheques that started appearing in early 1960's in certain centres like Rio De Janeiro, New York, the Hamptons on Long Island, Paris, Rome, and on the French Riviera. These were private to the point of being secretive. Most of them were "invitation only" and some of them were actually sex clubs also. They ended up actively separating and distancing themselves from the rest of nearby discotheques that they thought to be just playing "the hits". These discos had their own distinct sound and some observers insisted that these dj's in those discotheques were playing music that was the "real original disco music" that had nothing to do with "commercial music". When that sound was discovered by many dj's in the late 1960's in Europe, for the most part they didn't know what to do with it all. The music had a sophistication and continuous flow, It included SAMBA, BOSA NOVA and Brazilian PSYCODELIC ROCK like "E Assim Falava Mefistofeles" by O BANDO. Some of the clubs were playing MAMBO and CUBAN JAZZ records from the 1950's. Obviously ASTRUD GILBERTO's music was popular in these discotheques also in 1960's, especially for songs like "Gingele" and "Ziggy Ziggy Za". There were plenty of other records played that we don't know. One source suggested that some of those records were limited releases on vanity labels made exclusively for a specific discotheque at certain events. Those "limited edition" records were the new DISCO being made for some of these discos. Many actors and film directors were "invited" to these bastions of exclusivity, Some of this music these discotheques were playing found their way onto movies. LUIGI SCATINI's 1968 film "Sweden - Heaven and Hell" is a classic example. PIERO UMILIANI did the music that included "Man-Na Mah-Ha". That track was also recorded by GIORGIO MORODER in 1969. We are playing two GIORGIO MORODER tracks and one PIERO UMILIANI track that shows these unique style of music, They are from 1968 and 1969. Some salesmen used to drive back and forth from New York to Montreal and Ottawa back in 1970's with vans filled with new DISCO records. They would park by DISCO record shops like Dorval Records in Vanier (now Ottawa) and Pierre Musique in Montreal. If the store wouldn't buy all of the records they would open their back doors and sell records to costumers off the street. One those salesmen offered reel-to-reel recordings for a high price claiming that the music was mixes from one of these exclusive discotheques. An argument once ensued on a sidewalk of Montreal Road in Vanier and the salesman defended the value of those old mixes. He said to a costumer who questioned their value by saying, " Where do you think the musical sophistication in DISCO came from? It didn't just suddenly appear out of nowhere. These dj's were playing sophisticated music in their discos for decades. It all started back then with Brazilian music" We can't be entirely sure what happened to all of these discotheques. Some sources claim that the New York area examples got deeper and deeper into PSYCODELIC music in the late 1960's before they either failed or got closed down by the police. Some of them ended up becoming SALSA discotheques. Those New York area examples evidently contributed to giving the discotheque industry a real bad reputation in 1970 and 1971 in the area. Other sources suggest that most of the European examples eventually closed in the early 1970's. Considering how secretive they often were, how do we know if they are still open or not? Some sources suggest that the popularity of SAMBA and BOSA NOVA in other discotheques starting in 1970's and lasting right up to now is a result of the music "collectively remembering" the soundtrack of those clubs. One writer suggested that the now classic American Lounge album by the group TIPSY called '"Trip Tease" - The Seductive Sounds Of Tipsy' sampled some of the music from those exclusive discotheques. Other sources identify those discotheques; focusing on the Brazilian and Cuban music content, as part of a whole movement of discotheques going back to the late 1940's in various centres throughout South America and the Caribbean that underlines what they claim is a popular truth. That being that most styles of LATIN MUSIC is DISCO. There are those who have suggested that DISCO was really created in Latin America. They suggest that all discotheque music can be traced back to Brazil and Cuba. We are not inclined to believe that entirely. These people seem to ignore the influence of Jamaica. All the same, it is very curious that a Brazilian influenced sound dominated some exclusive discotheques in Europe in the 1960's and early 1970's. The love affair in discotheque music with LATIN MUSIC continues. Apart from the three tracks we are featuring on this show, it is really hard to find the music those discotheques featured. TREVOR WALKER did a wonderful tribute to ASTRUD GILBERTO on his amazing show FRIDAY DRIVE. Here is the link to that show which was entitled (TributeCatchUps) : https://cod.ckcufm.com/programs/120/60857.html It is right at the beginning of the show! If you manage to listen to Trevor Walker's amazing mix of ASTRID GILBERTO close your eyes and let your imaginations take over. Imagine as you listen that you are back in one those exclusive discotheques in the 1960's! |
| MAH-NA MAH-NA (DE LA PELICULA "SWEDEN HEAVEN AND HELL") GIORGIO MORODER - 7" - MOVIEPLAY |
| VIVA LA SAUNA SVEDESE PIERO UMILIANI - PSICHEDELICA (LP) - OMICRON |
| DOO-BEE-DOO-BEE-DOO GIORGIO MORODER - 7" - MOVIEPLAY |
| LOU LUPO
LOU LUPO is a saxophonist and producer from Philadelphia that seemed to have a special connection to Montreal. All three of his "easy listening" JAZZ albums in the 1960's were released by the Montreal based labels - Canusa, D.S.P., and Jupiter (not to be confused with the German Eurodisco label). They were all popular records for home parties. In 1968 his 7" single "Le Twist African" came out in Montreal on the Canusa label. It was very popular in Montreal discotheques at the time like the Apollo where the dj TREVOR PAYNE evidently liked mixing it with MARIE CLAIRE's "Nitty Gritty". In Philadelphia, LOU LUPO founded the group PANIC BUTTONS released on his own label Chalom Records in the case of the song "O Wow". He worked with GAMBLE & HUFF. His second PANIC BUTTONS was released on the Gamble label. The PANIC BUTTONS were Sax driven uptempo FUNK items that some sources have identified as early DISCO. Both tracks tore up discotheques! We are playing both PANIC BUTTONS later on! LOU LUPO is still active. He has also worked on Jingles and movie soundtracks. |
| LE TWIST AFRICAIN LOU LUPO - 7" - CANUSA |
| LONDON TRAFFIC GIORGIO - SON OF MY FATHER (LP) - ABC/DUNHILL |
| GRIBOUILLE LES GOTTAMOU - JERK AVEC LES GOTTAMOU - GAMMA-GOOCHEE 7"EP - RIVIERA |
| BOOGALOO MARDI GRAS PT. 1 BOBBY WILLIAMS GROUP - 7" - CAPITOL |
| LA TRAMONTANA ANTOINE - 7" - VOGUE |
| 7-ELEVEN
The now legendary "Dance The Slurp" single was released in 1967 and 1970 for exclusive promotional distribution in 7-Eleven stores. Written by Dallas jingle producer TOM MERRIMAN for 7-ELEVEN stores in the United States, it became so popular that some commercial "hit" radio stations played it. Dj's in various discotheques played it heavily in 1970. Many Breaks deejays in the United States started mixing it up in the 1990's. The flip side of the single had "The Strange Things (That Happen To The People Who Slurp Icees At 7-ELEVEN)" which was spoken word comedy! We actually played part of it on 'The Groove' episode from July 16, 2022 called "SLURP SHOW (Rolling along abandoned emotional tracks in a route from 1966 to 1973; originally closed and shuttered.)" Here is a link to that show: https://cod.ckcufm.com/programs/131/56721.html |
| DANCE THE SLURP (THE WILDEST...THE KOOKIEST...THE GROOVIEST...THE SLURPIEST) 7-ELEVEN (TOM MERRIMAN) - 7" - 7-ELEVEN |
| VIVA BOBBY JOE THE EQUALS - 7" - PRESIDENT |
| MICHAEL HOLM
Around the summer of 2010, our own DJ TEKNOBRAT took some time off from one of his European tours to visit a Disco record shop in The Netherlands. TEKNOBRAT ended up being like a kid in a candy shop as he enthusiastically picked up many rare EURODISCO and ELECTRONIC DISCO records. Many of these records he had heard on 'The Groove' or read about in various publications. Seeing that TEKNOBRAT was really collecting many gems, the older store owner eventually started steering him towards what that owner described as "even earlier disco!" One of those records was "Mendocino" by MICHAEL HOLM. Actually the owner also said, "This is the first disco. Even Giorgio Moroder produced a lot of this stuff!" As the store owner played some of those 7" singles, TEKNOBRAT politely declined to purchase any of them. TEKNOBRAT thought that it sounded like weird ROCK music, not DISCO, The historical significance of this interaction is that - in the 21st Century some store owner tried to sell some records of the SCHLAGER/BUBBLEGUM sound of early EURODISCO from the late 1960's and extreme early 1970's to one of the best TECHNO DJS! When interviewed about that period GIORGIO MORODER referred to the music as 'BUBBLEGUM'. MICHAEL HOLM had started singing in the early 1960's yet he had his biggest commercial success with GIORGIO MORODER in the late 1960's with early discotheque hits like the German language version of the SIR DOUGLAS QUINTET hit from the United States called "Mendocino". That AMERICAN SOUTHERN ROCK song was a minor hit back in the United States, yet in Europe it was extremely popular. Dozens of different versions of it in different languages were recorded all over Europe in 1969 and the early 1970's. MICHAEL HOLM 's version was produced by GIORGIO MORODER who gave it a slightly stronger structure complete with an outstanding Electronic keyboard arrangement that made the recording almost addictive. It ended up more popular in Germany and Austria than the original. Discotheques there played it heavily until the early 1970's. MICHAEL HOLM had several hits with MORODER producing like "Barfuß Im Regen" and a cover-version of the SOULFUL DYNAMICS hit 'Mademoiselle Ninette", both in 1970. He briefly joined GIORGIO MORODER to form the group SPINACH in 1970. By 1973 the group broke up with GIORGIO getting deeper into DISCO production and MICHAEL more pursuing his career as a SCHLAGER singer. He is still celebrated as a great singer in conservative GERMAN POP circles to this day. |
| MENDOCINO MICHAEL HOLM - 7" - ARIOLA |
| BARFUß IM REGEN MICHAEL HOLM - 7" - ARIOLA |
| O WOW PANIC BUTTONS - 7" - CHALOM |
| NO MORE HEARTACHES, NO MORE PAIN VICKI ANDERSON - 7" - KING |
| COME OUT SMOKIN' THE PANIC BUTTONS - 7" - GAMBLE |
| LE BELLE DONNE ROCKY ROBERTS - 7" - DURIUM |
| SOUL FINGER BAR-KAYS - 7" - STAX |
| CLARA'S JERK JACQUES LOUSSIER ET SON ORCHESTRE - TU SERAS TERRIBLEMENT GENTILLE (LP) - DECCA |
| SOUL MACHINE MANU DIBANGO - 7" - PHILIPS |
| Portions of the tracks we have played on this show by GIORGIO MORODER, MARLENA SHAW, THE MOHAWKS, EDDIE BO, THE SOUL FINDERS, THE MARKEYS, BILLY "SUGAR BILLY" GARNER, WILBURT BASCOMB & THE ZODIACT and also the 7 ELEVEN were all featured on the very popular and controversial BRAINFREEZE mix by DJ SHADOW & CUT CHEMIST in 1999. It was available from Sixty 7 Recordings. |
Subscribe to The Groove
Had to get my readin' glasses back on! Cool!
12:52 AM, June 8th, 2024