Artist: Gino Soccio
Title: Face To Face
Label: Atlantic Records
Catalog# ATL 50891
Gino Soccio was one of the many disco producers who worked within euro disco style of the late 70’s. Because Euro disco is not my genre of choice in regards to dance music, I’m picky about who and what I would listen to in this style. So I figured if Cerrone grew on me, why not give Gino Soccio a try. While the samples gave me the illusion that this was pure electronic music with no organic instruments, I’m proud to say that Face to Face is a sonically intriguing fusion of deep synthesizers and organic 4/4 drums all throughout- giving it a human touch. The soulful melodies that run throughout seasons these early 80’s disco nuggets.
While things jump off to a solid start with “It’s Alright” and “Dream On”, the song that really does it for me is “You Move Me” (one of the album highlights). While the other songs are in deep in the early 80’s mode, “You Move Me” is a late 70’s sounding disco soul track that sound like it could’ve been made by Chic. On the second half of the album , “Who Dunnit?” is a characterized by a stoned robotic bassline that can inspire hip hop break dancin- and is it me or does the guitar riff in the hook sound like Lipps Inc Funkytown. Nonetheless it’s a nice sounding track. The centerpiece of the album to me is “Remember”. “Remember” is a proto techno workout that leaped light years ahead of the pack as it laid down the ground work for electronica and acid house. It’s influence can be heard to this day . I like the amount of musical depth that’s contained in “Remember” in spite of the song being composed primarily by Keyboard. Not only is it a good electronic disco record, it’s one that’s distinctively groovy – instead of the banal emptiness you would hear in a lot of techno records today. Then there’s “Look at Yourself”. This is not a dance track but an experimental rock track with electronic elements. It’s a nice record with a addictive guitar lick that holds it together . While some will be thrown off by this, it’s a good enough variation from the dance theme of the album.
1. It’s Alright (7:37)
2. Dream On (6:18)
3. You Move Me (5:58)
1. Who Dunnit? (5:50)
2. Remember (6:34)
3. Look At Yourself (6:41)
Harry Edward Nilsson III (June 15, 1941 – January 15, 1994), usually credited as Nilsson, was an American singer-songwriter who achieved the peak of his commercial success in the early 1970s. His work is characterized by pioneering overdub experiments, returns to the Great American Songbook, and fusions of Caribbean sounds.
Artist: Harry Nilsson
Label: RCA Records
Knnillssonn is the fourteenth album by Harry Nilsson. This album was Nilsson’s personal favorite while recording it, as his voice had recovered from the Pussy Cats sessions; his songs were developed and his singing was in top form. RCA agreed and had prepared to promote the album heavily as a comeback album after his previous efforts were mostly missed by the public. Shortly after the album was released, however, Elvis Presley died and RCA shifted its focus, abandoning Nilsson and many other artists in its wake. With its old-fashioned pop sensibility and weirdly out of sync production, plus Nilsson‘s trademark clever songsmithery and impish humor, Knnillssonn is a pop album like no other. It has his best set of songs in many a year, and the production is fascinating, yet at times it sounds like he’s trying a little too hard. Still, there are brilliant moments, whether it’s a tune as seductive as “All I Think About Is You” or the Agatha Christie murder mystery salute “Who Done It?” For all the cultists who struggled with, and at times embraced, his years of uneven records, this is their reward: an album that may only appeal to a small audience, but that satisfies their every desire about what an album from their favorite artist should be.
Klaus Voorman, billed on the album as Mara Gibb, was the guest mystery singer on “Perfect Day.” The St. Paul’s Cathedral Choir Boys choir is also on this track in addition to “All I Think About Is You.”
1. All I Think About Is You (4:04)
2. I Never Thought I’d Get This Lonely (5:06)
3. Who Done It? (5:20)
4. Lean on Me (2:51)
5. Goin’ Down (3:11)
1. Old Bones (2:58)
2. Sweet Surrender (4:42)
3. Blanket for a Sail (2:33)
4. Laughin’ Man (2:56)
5. Perfect Day (3:54)
Emerson, Lake & Palmer were an English progressive rock supergroup formed in London in 1970. The band consisted of Keith Emerson, Greg Lake, and Carl Palmer. They were one of the most popular and commercially successful progressive rock bands in the 1970s with a musical sound including adaptations of classical music with jazz and symphonic rock elements, dominated by Emerson’s flamboyant use of the Hammond organ, Moog synthesizer, and piano (although Lake wrote several acoustic songs for the group).
Artist: Emerson, Lake & Palmer
Title: In Concert
Label: Ariola Records
Emerson, Lake and Palmer in Concert is a live album by Emerson, Lake & Palmer (ELP), recorded at 26 August 1977 show at the Olympic Stadium, Montreal, Quebec, Canada which is featured on the album cover. It was released by Atlantic Records in November 1979, following ELP’s breakup. Some of the tracks were not from the Montreal concert, but from other concerts the 1977-1978 Tour, like “Peter Gunn” and “Tiger in a Spotlight”.
Similar to most live albums, In Concert showcased fan favourites of previously released material. However, “Peter Gunn”, ELP’s take on the classic TV theme song, was never released on any of their other albums (a slightly edited version of this live recording was included on the 1980 The Best of Emerson, Lake & Palmer compilation and released as a single in some countries). ELP frequently opened with this song on the Works Volume 2 tour.
The band hired a 70-piece orchestra for some concerts of this tour but eventually had to dismiss the orchestra due to budget constraints that almost bankrupted the group.
1. Introductory Fanfare (0:51)
2. Peter Gunn (3:30)
3. Tiger In A Spotlight (3:58)
4. C’Est La Vie (4:06)
5. The Enemy God (Dances With The Black Spirits) (2:39)
6. Knife Edge (4:47)
1. Piano Concerto No. 1 Third Movement: Toccata Con Fuoco (6:26)
2. Pictures At An Exhibition (15:29)
Artist: The Isley Brothers
Title: The Real Deal
Label: Epic Records
The Real Deal is the 21st album released by The Isley Brothers on August 7, 1982. The album is notable for the group’s decision to alter their trademark funk rock sound in the 1970s with the then-current early 1980s electro funk scene dominated by Rick James, Prince, Zapp and The Gap Band.
The Isley Brothers were finding themselves in a rut following a successful nine-year run of gold and platinum albums and a succession of hit singles that had made them one of the top-selling R&B/funk bands of the 1970s. After hearing the sounds of the Gap Band and Rick James, The Isleys (Kelly, Rudy, Ron, Ernie and Marvin) and brother-in-law Chris Jasper, whose role in the Isleys had grown to the point where he was adding background vocals himself alongside longtime lead vocalist Ron Isley and also added in a vocoder co-lead while playing synthesizers, which sometimes was overdubbed atop Marvin Isley’s bass guitar riffs.
For their, 1982’s The Real Deal, the group went for a more minimalist funk sound with the title track, which hit the top 20 of the R&B charts, Ron Isley, Ernie Isley and Chris Jasper showcase “Stone Cold Lover”, the vocoderized “Are You With Me”, the mid-tempo “It’s Alright With Me” (with Chris Jasper being the only other vocalist beside Ron Isley singing on the song) with the smoother pop rock ballad “All in My Lover’s Eyes”, which peaked at number sixty-seven on the R&B chart in 1983, while Ron and Ernie are showcased heavy on the Jimi Hendrix-inspired “Under the Influence”, which showcased a more bluesier approach than the group was used to. Despite hopes that the album will bring the Isleys back to the top of the charts, it stalled at number 87 on the Billboard 200.
1. The Real Deal (Part I And II) (7:03)
2. Are You With Me? (4:48)
3. Stone Cold Lover (5:12)
1. It’s Alright With Me (5:32)
2. All In My Lover’s Eyes (5:13)
3. I’ll Do It All For You (4:20)
4. Under The Influence (5:42)
Artist: The Classics
Title: Sunshine Baby And Other Sunny Songs
Label: Killroy Records
Catalog# KR 14908 KL
Begin jaren 60 ontstond de groep the Classics uit de groep the Strangers (Harrie en Hub Broens; Ber Kwaspen en Renée (Broer) Janssen. Toen the Strangers stopten gingen Harrie Broens, Ber Kwaspen, Jan Dirkx en Pierre Hoeken verder onder de naam the Classics. In 1964 moest Pierre Hoeken in militaire dienst en begin 1965 Jan Dirkx. Daarmee kwam tijdelijk een einde aan the Classics.
In 1966 besloot Jan Dirkx om opnieuw te beginnen, samen met zijn neef Ber Kwaspen en Harrie Broens, aangevuld met broer Ton Dirkx en René Munnecom. Het eerste optreden vond plaats 27 mei 1967. De leden van de groep begonnen met eigen liedjes te schrijven. De band bestond op dat moment uit Jan en Ton Dirkx, Ber Kwaspen, Harrie Broens en Renee Munnecom. In 1971 werd Ton Dirkx opgevolgd door Joep Beurskens (ex-Teddybears). In 1974 werd Rene Munnecom opgevolgd door Peter Gerits.
In het begin trad de groep voornamelijk op in de regio en nam deel aan talentenjachten. Tijdens een van de optredens werd de band ontdekt door platenbaas Johnny Hoes. Hij bood de jongens een platencontract aan. De eerste single I only want to be with you werd een regionaal succes. De groep bestond op dat moment uit vijf personen met de in die tijd gebruikelijke bezetting: twee gitaren, basgitaar, toetsen en drums. Het repertoire van de groep bestond voornamelijk uit nummers van the Shadows,Cliff Richard,Cats en andere hitparadeartiesten uit die periode.
De groep ontwikkelde al snel een eigen sound. Deze sound kenmerkte zich met name door de fijne samenzang en werd door Joost den Draaier de ‘vlaaiensound’ genoemd. Aanleiding daartoe waren de Limburgse vlaaien die Jan Dirkx vaak bij zich had bij zijn wekelijks bezoek aan de Hilversumse studio’s. De vlaaiensound kan worden gezien als een tegenhanger van de palingsound uit Volendam.
In 1976 brachten ze hun tweede Lp “Sunshine Baby And Other Sunny Songs” uit. De nummers “Sunshine Baby” en “Sodom And Gomorra” kwamen op single uit. http://www.bing.com/translator
1. Sunshine baby (3:58)
2. Let me be your teacher (3:02)
3. My melody d`amour (3:39)
4. Crying time (2:38)
5. Marlena (3:12)
6. Be carefull with friendship (3:12)
1. Little yellow pillow (2:57)
2. Fools like me (3:21)
3. Sitting on the fence (4:00)
4. Come take my hand (2:20)
5. Sodom and gomorra (3:19)
6. Goodbye, farewell (3:33)
Michael Zager (born January 3, 1943, in Passaic, New Jersey) is an American record producer, composer, and arranger of original music for commercials, albums, network television, and theme music for films. He teaches music at Florida Atlantic University. Zager was a member of jazz rock band Ten Wheel Drive from 1968–1973.
Artist: The Michael Zager Band
Title: Let´s All Chant
Label: Private Stock Records
Catalog# PVLP 1042
The Michael Zager Band’s “Let’s All Chant” was among the more unorthodox disco hits of 1978. Lyrically the tune was nothing special; “Let’s All Chant” offered the usual disco clichés about dancing and working your body. But musically, Zager‘s single grabbed your attention by combining a disco/funk beat with a European-influenced, oddly baroque (some would say pseudo-baroque) sensibility. “Let’s All Chant” was as infectious as it was quirky, and it made you want to hear what the rest of this debut album by producer/arranger/composer Zager sounded like. Unfortunately, the other songs on this uneven LP fall short of the excellence of the title song. “Freak,” “Music Fever,” and “Love Express” are catchy, if generic, disco items that aren’t as interesting as “Let’s All Chant” but worked well on dancefloors. The only thing on Let’s All Chant that one would want to go out of his/her way to avoid is the corny, ultra-cheesy “Dancin’ Disney,” a disco medley of Disney songs. But this LP has more ups than downs, and it remained in the libraries of many dance club DJs long after its initial release in 1978.
Recognizable by both its vocal hooks and its classical section, which is featured in the middle of the song, “Let’s All Chant” was well received by critics, who have praised its musical arrangement and its catchiness. It was based on an idea originally suggested by former head of A&R Jerry Love after he visited clubs in New York and saw people endlessly chanting “Ooh-ah, Ooh-ah”. Although Zager was first embarrassed when Love asked him to write a song using these chants, he accepted the proposal and later co-wrote “Let’s All Chant” with Fields. Many reviewers regard the song as a classic of the disco era. It also became a turning point in Michael Zager’s career. As well as being used in many TV advertisements and movies, it has become an influential dance song which has been extensively covered or remixed by numerous artists and has been interpolated or sampled in many other tracks.
1. Let’s All Chant (3:07)
2. Soul To Soul (5:51)
3. Love Express (7:02)
1. Music Fever (6:37)
2. Freak (3:20)
3. Dancin’ Disney (8:01)
(a) Heigh Ho
(b) Give A Little Whistle
(c) Whistle While You Work
(d) When You Wish Upon A Star
Artist: Sigue Sigue Sputnik
Title: Flaunt It
Label: Parlophone Records
Catalog# 1C 062-240581-1
Sigue Sigue Sputnik‘s first single, “Love Missile F1-11,” was unlike anything heard in the 30-plus years of rock & roll. Gunfire and explosions, bits of Mozart, then mad Thunders-like guitar breaks, backwards vocals, and tons of reverb all add to a song that shifts and changes every few seconds, leaving no chance that the listener will grow bored. Lines like “A U.S. bomb cruises overheard/There goes my love, rocket-red,” allude to sex and nuclear war. Singer Martin Degville repeated calls to “Shoot it up!” sound like Elvis by way of Alan Vega, and every influence is thrown in, including Eddie Cochran, Marc Bolan, Suicide, Gene Vincent, David Bowie, and Little Richard, as well as ultra-violent movies like Scareface and the Terminator to create the pop song. “Love Missile F1-11” opens Flaunt It, with a harsh, attention grabbing synthesized symphonic crash, followed by a single, repeated phrase that explicates their true intentions: “I wanna be a star!” The subdued “Atari Baby,” the track that has the dubious distinction of following the cacophonous “Love Missile,” is a welcome comedown, but is disturbing nonetheless. An ominous love song for the virtual reality age, when sex with a human is replaced by sex with a video game. “Sex Bomb Boogie” sounds a lot like “Love Missile,” but does contain such amusing bubblegum glam couplets as “King Kong boogie/dance on, dance on,” and “Come one baby, love me like a rocket.” No band influenced Sputnik more than the New York City duo Suicide, and “Rockit Miss USA” is the most obvious example of this. On what is basically a straight rip of Suicide‘s “Rocket USA,” Sputnik make their biggest statements. The song addresses not only the ascending vigilante justice in America, but the constant threat of the then two super powers destroying the world in a nuclear showdown. The Bolan influence comes to the forefront in “21st Century Boy” (“20th Century Boy” was one of T.Rex‘s great singles). Degville keeps insisting he’s “a space cowboy,” while looped Cochran-like guitar samples keep the track bouncing. Random outbursts like “Sigue Sigue Sputnik — affordable fire power!” make the song their most hysterically funny number, but others eluding to the dehumanization of mankind (“I am the ultimate product!”) and that we love products rather than the people around us (“I love technology”), now ring a little too true for comfort. Flaunt It runs out of steam at the end, but only because the remaining three tracks are stuck with the near impossible task of measuring up to the most over of over-the-top rock & roll the world had heard yet. Sigue Sigue Sputnik succeeded in their attempt to create the ultimate rock & roll fantasy, one full of violent, futuristic imagery that was cartoonish, yet often if you listened close enough, had, surprisingly, something to say.
1. Love Missile F1-11 (Re-Recording Part II) (4:49)
2. Atari Baby (4:57)
3. Sex-Bomb-Boogie (4:48)
4. Rockit Miss U•S•A (6:08)
1. 21st Century Boy (5:10)
2. Massive Retaliation (5:02)
3. Teenage Thunder (5:17)
4. She’s My Man (5:37)
Angelique (pseudoniem van onder anderen Conny Schouwman) was een Nederlandse zangeres die in 1982 in de Nationale Hitparade een nummer 1-hit (nummer 2 in de Top 40) behaalde met “Een beetje geld voor een beetje liefde”.
Artist: Angelique En Haar Ondeugende Vriendinnen
Title: Een Beetje Geld Voor Een Beetje Liefde
Label: Olala Records
Catalog# OL 69021
“Een beetje geld voor een beetje liefde”. Het nummer was een parodie op de hit “Ein bißchen Frieden” van Nicole. De zangeres van deze nummer 1-hit, waarvan “Angelique” een van de pseudoniemen was, is afkomstig uit de regio Rotterdam, Rijnmond. In de jaren 1980 was haar stem ook in diverse reclameboodschappen op de lokale radio in deze regio te beluisteren. Het nummer “Een beetje geld voor een beetje liefde” werd op een middag door haar op de band ingezongen en was eerst eigenlijk bedoeld als grap. Later werd het nummer uitgebracht op het O lala-label, met als resultaat de eerder genoemde hitnoteringen. Op de B-kant staat de wals “Vader wat klotsen je ballen”.
Schouwman was ooit zangeres in The Chico’s.
De meeste andere populaire nummers van Angelique (waaronder “Vanavond ben ik helemaal alleen”, dat ook een notering in de hitlijsten bereikte, en “Vader wat klotsen je ballen”) werden ingezongen door zangeres Joke de Knegt, destijds woonachtig in Wateringen en zangeres van de succesvolle formatie Flame. Zij behaalde destijds de omslag van de Story, waarin onthuld werd dat zij de zangeres achter het pseudoniem Angelique was. Dat was gedeeltelijk waar, op de nummer 1-hit “Een beetje geld, voor een beetje liefde” na). Deze onthulling zorgde destijds voor veel opschudding, waardoor de zangeres besloot het bij deze uit de hand gelopen grap te laten en zich verder te richten op het serieuzere poprepertoire. http://www.bing.com/translator
1. Een Beetje Geld Voor Een Beetje Liefde (3:07)
2. Schandaal Om Rosie (3:30)
3. Vader, Wat Klotsen Je Ballen (3:14)
4. Veel Is Het Niet (3:10)
5. Oh, Als De Mensen Eens Wisten (4:03)
6. Boemeladie Boem Boem (3:17)
1. Hip, Hap, Hop (3:19)
2. M’n Poesje Is Helemaal Nat (3:40)
3. Zeven Kusjes (3:31)
4. ‘T Poesje Van Klein Loesie (4:10)
5. M’n Keesie (2:01)
6. Oho, Aha, Dat Ding Van Jou Is Veel Te Groot (4:28)
Jermaine La Juane Jackson (born December 11, 1954) is an American singer, bass guitarist, composer, and occasional film director. He is known for being a member of The Jackson 5. He also produced and recorded duets with American singer Whitney Houston in her early years as a recording artist and was a producer for Bobby DeBarge‘s band Switch. He is the fourth child of the Jackson family.
Artist: Jermaine Jackson
Title: Let Me Tickle Your Fancy
Label: Motown Records
It was the vocalist/bass player’s final album with Motown before he signed with Arista Records the following year. The track was written by Jermaine, Marilyn McLeod, Paul M. Jackson, Jr. and Pam Sawyer. Jermaine is also credited with the track’s funky rhythm arrangement. And it was his idea to have the Devo members sing the backing vocals to enhance the new wave feel of the song. Mothersbaugh and Casale are credited as Spud and Pud Devo on the album. Neither of the Spudboys played any instruments on the studio version of the song, but you can certainly hear their influence throughout. Singer/songwriter Stephanie Spruill also helped out with the backing vocals, as did Jermaine.
1. Let Me Tickle Your Fancy (3:50)
2. Very Special Part (6:32)
3. Uh, Uh, I Didn’t Do It (4:29)
4. You Belong To Me (4:02)
5. You Moved A Mountain (4:22)
1. Running (4:15)
2. Messing Around (4:27)
3. This Time (4:17)
4. There’s A Better Way (4:11)
5. I Like Your Style (4:59)
The Manhattans are an American popular R&B vocal group. originally from Jersey City, formed in 1962 with members: George “Smitty” Smith, Edward “Sonny” Bivins, Winfred “Blue” Lovett, Kenny “Wally” Kelley and Richard “Ricky” Taylor.
Artist: The Manhattans
Title: The Manhattans
Label: CBS Records
The Manhattans is the self-titled album by R&B vocal group The Manhattans, released in 1976 on the Columbia label. The Manhattans was the group’s third Columbia album; the previous two (There’s No Me Without You and That’s How Much I Love You) had sold respectably to the R&B market, but failed to garner any significant crossover attention. The Manhattans however went on to become commercially the most successful album of the group’s career, peaking at #16 on the Billboard 200 and #6 on the R&B listings.
With seven of the ten tracks recorded at the famed Sigma Sound Studios in Philadelphia, the album is, in terms of vocal style and production, very much in the elegant, slick and sophisticated tradition of the premier male Philadelphia soul vocal groups of the early to mid-1970s, such as The Delfonics and Blue Magic, although the influence of the then burgeoning disco sound is also evident on the more uptempo tracks such as “Searching for Love”. The album’s commercial success was driven by the release of the single “Kiss and Say Goodbye“, which took off immediately in all markets and became the group’s signature song. With its distinctive 60-second spoken introduction by Winfred “Blue” Lovett (also the writer of the song), the single (edited by almost a minute from the album version) topped the R&B chart for one week in May 1976, then crossed over into the pop market and also spent two weeks at the top of the Billboard Hot 100 in July. “Kiss and Say Goodbye” also became a major hit in the UK, reaching #4 and pushing the album into the top 40. Later in 1976, the single “Hurt” – a cover of a song which had previously been a hit for Roy Hamilton and Timi Yuro in 1954 and 1961 respectively – also rose to #4 in the UK, despite having barely scraped into the top 100 in the U.S. when released there in late 1975.
The album has maintained its critical reputation for consistently strong material, production values and vocal expertise. “Under the direction of Philly groove master Bobby Martin, the group utilizes its streetwise doo-wop delivery on a mixed bag of sounds. These include uptempo numbers…as well as orchestrated sounds. Although the disco-era rhythms certainly add a bit of nostalgia, at the center of The Manhattans is the sextet’s deceptively complex…vocal blend.”
1. Searching For Love (4:38)
2. We’ll Have Forever To Love (3:09)
3. Take It Or Leave It (3:17)
4. Reasons (3:29)
5. How Can Anything So Good Be So Bad For You? (3:10)
1. Hurt (3:03)
2. Wonderful World Of Love (2:47)
3. If You’re Ever Gonna Love Me (3:08)
4. La La La Wish Upon A Star (3:27)
5. Kiss And Say Goodbye (4:28)