The Disco Files Template

Total Page:16

File Type:pdf, Size:1020Kb

The Disco Files Template THE DISCO F ILES 1973-78 New York’s Underground, Week by Week by Vince Aletti xxx xxx Rolling Stone August 28, 1975 Dancing Madness By Vince Aletti NEW YORK – It’s not easy to pin down the disco craze with figures. As one independent mixer of disco singles explained, “The numbers are growing so fast. Every day I get four or five invitations to grand openings of new clubs.” But even the rough estimates of disco scene observers are revealing: 2000 discos from coast to coast, 200 to 300 in New York alone – the uncrowned capital of dancing madness, where an estimated 200,000 dancers make the weekly club pilgrimage. And when disco people like a record, it can become a hit-regardless of radio play. Take Consumer Rapport’s “Ease On down The Road.” Released on tiny Wing and a Prayer Records, it sold more than 100,000 copies in New York in its first two weeks before it was picked up on the radio. Discos and what has come to be known as disco music have turned out to be, if not the Next Big Thing everyone in the music business was waiting for, then the closest thing to it in years. Discos have opened in old warehouses, steak restaurants, unused hotel ballrooms and singles bars... any place you could stick a ceiling full of flashing, colored lights, a mirrored ball, two turntables, a battery of speakers, a mixer and a DJ. In a recession economy, they’re a bargain both for the club owner – who has few expenses after his initial setup investment and an average $50-a-night salary to the DJ – and the patrons, who can dance nonstop all night for a fraction of the cost of a concert ticket. Drag queens mugging © Peter Hujar Archive But the spread of disco music, especially in the last year and a half has outpaced even the growth of discos themselves. Though the new disco music evolved from the hard dance records of the Sixties – primarily Motown and James Discos and what has come to be Brown – the direction has been away from the basic, hard-edged brassy style and known as disco music have turned out toward a sound that is more complex, polished and sweet. If one style dominates to be, if not the Next Big Thing everyone now, it’s the Philadelphia Sound, which is rich and elegant, highly sophisticated and tightly structured but full of punch. The Philadelphia producers are the in the music business was waiting for, masters at using strings energetically, to boost as well as soften the arrangements, then the closest thing to it in years and they’ve perfected the glossy sound with Harold Melvin and the Bluenotes, the O’Jays, the Trammps, the Three Degrees and Blue Magic. Gamble & Huff and 2 The Disco Files 1973-78 The Disco Files 1973-78 3 Village Voice June 16, 1975 The Loft By Vince Aletti Listening to the radio spots or reading the leaflets pressed into your hand outside blow-your-whistle concerts you might think they were new bands or star performers. “The tropical Sounds of Maboya,” “The Enchanting dreamwaves of Rip and Cliff,” “The Vibrant Sounds of Flowers,” “Shockwaves Conceived and Regulated by the Smith Brothers.” But “Maboya,” “Flowers,” Rip and Cliff and a growing number of others known like models and graffiti artists by a single name, are discotheque disc jockeys. These wizard/technicians in the raised booths are the underground stars of the discotheque boom that began three years ago and is now approaching the turning point from genuine phenomenon to media fad. No longer just human jukeboxes, discotheque DJs talk about creating “total evenings” or turning the night into “a whole big song, a trip,” and worry as much about their artistry as they do about new turntables that won’t slip cue like the old ones. Like hair stylists a few years back (another first-name-only group), disco DJs are emerging as the new pop professionals, holding down the up-from-the-ranks glamour jobs of the moment. Because a soundless second in a discotheque is like an hour in the real world, the new DJs blend all-night seamless musical environments, flights that may last eight hours from peak to ecstatic peak, while the lights flash and the crowd screams. But it’s not as master mixers or mood magicians that club DJs have David Mancuso © Peter Hujar Archive gotten a sudden snap-to of attention from the music business. Major record companies have begun to recognize the best discotheque DJs as tastemakers with an avid and often affluent following. Unlike their radio station Because a soundless second in a counterparts, discotheque DJs don’t wait to see sales figures, tipsheets or activity discotheque is like an hour in the real reports from other parts of the country. They’re used to tracking down new albums, singles and imports even before they’re reported in the music trades world, the new DJs blend all-night seamless (often spending as much as $50 a week to keep their collections up to date), musical environments, flights that may last and pride themselves on being the first to introduce records hot off the presses to their crowd. Record company promo men are finding they may have to fend eight hours from peak to ecstatic peak off anxious disco DJs before they can hype them, but they’re also discovering 4 The Disco Files 1973-78 The Disco Files 1973-78 5 After Dark November 1976 The Men In The Glass Booth By Vince Aletti He’s there each night from ten to closing time, With sights and sounds to help the crowds unwind, And from the booth each night he blows your mind, With his mix and tricks Forget – for the moment at least – Donna Summer, Silver Convention, Brass Construction, Gloria Gaynor, Bohannon, Love Unlimited – that endless ever- changing, slippery starstream of names shooting through disco heaven. The real stars of the seventies disco boom aren’t on records, they’re spinning them. Discotheque DJs have become tastemakers, record-breakers (several have received gold records in recognition of their influence on sales), mood magicians, performers with personal styles. The new DJ doesn’t just change records, he creates a musical “journey,” blending records into “one continuous song, one story.” As Tom Savarese, one of New York’s top DJs puts it, “From the moment I go in there to the moment I leave – that’s my canvas.” To conjure up this kind of vibrant, volatile aural landscape the DJ has to be part artist (the medium: musical collage), part technician, part crowd Back row, L-R: Barry Lederer, Tom Savarese, Don Findlay, Vincent Cafiso, Jimmy Stuard, psychologist. Some would say a total madmen. You have to know your records Nicky Siano; Front row Tony Smith, Larry Sanders © Eric Stephen Jacobs inside out, they say: the intros, the fades, the breaks, the changes, then maybe you’ll understand why disco DJs talk about “my music.” This intimate knowledge allows them to weave record into record, making one seamless tapestry. Like any artist, a talented DJ develops an individual, idiosyncratic style. One is famous for his drum collages – his hot pulsing evocation of the urban jungle. Another has a One is famous for his drum collages – his trademark sound that’s cool, loose and sweetly ecstatic. Still another will purposely break the floor “like a billiard table,” shifting the crowd for a record hot pulsing evocation of the urban jungle. he feels they should hear, nudging them into unfamiliar music. Others are Another has a trademark sound that’s cool, abrasive or frenzied or cheerfully crowd-pleasing, but they all stamp the music with their personal taste. The best inspire passionately loyal followings that trail loose and sweetly ecstatic them from club to club. (In New York, where discos open and close at the drop 6 The Disco Files 1973-78 The Disco Files 1973-78 7 After Dark November 1976 After Dark November 1976 of a Thorens tonearm, most experienced DJs can reel off a list of past jobs – Sanctuary, the Haven, Machine I, Machine II, Tambourlaine, Limelight, the Ice Palace, Le Jardin, Make-Believe Ballroom – that reads like an index to the city’s underground high and low life for the past ten years.) But if disco DJing is an art, it’s solidly based on technology – not only on the mastery of elaborate systems of turntables, mixers, speakers, amps, filters, headphones and lightboards but on a sensitivity to the technical pluses and minuses of the records. DJs quickly develop a sharp critical ear for the quality of a mix or a pressing, if only because disco equipment is sure to exaggerate flaws. When record companies realized that a muddy studio mix or a drastically reduced sound level was keeping their records off disco turntables they snapped to with special pressings “For Disco DJs Only,” usually single long tracks on limited edition, high-quality twelve-inch discs. This past spring, a number of companies began commercially marketing these discs – the first new record format in decades – and found them selling briskly to people eager for the same full length and quality they had heard in the clubs. (Appropriately, the first “disco disc” in the stores, Double Exposure’s stunning “Ten Percent,” was “disco blended” by New York DJ Walter Gibbons, one of a small but increasing number of spinners crossing over to the production side of the music.) Not only was the disco DJ the impetus behind the creation of the “disco disc” but he was the key factor in the development of the entire specialized disco market that record and equipment manufacturers are now turning into a goldmine.
Recommended publications
  • THE PRESS in CROWN HEIGHTS by Carol B. Conaway
    FRAMING IDENTITY : THE PRESS IN CROWN HEIGHTS by Carol B. Conaway The Joan Shorenstein Center PRESS ■ POLI TICS Research Paper R-16 November 1996 ■ PUBLIC POLICY ■ Harvard University John F. Kennedy School of Government FRAMING IDENTITY: THE PRESS IN CROWN HEIGHTS Prologue 1 On the evening of August 19, 1991, the Grand Bystanders quickly formed a crowd around the Rebbe of the Chabad Lubavitch was returning car with the three Lubavitcher men, and several from his weekly visit to the cemetery. Each among them attempted to pull the car off of the week Rabbi Menachem Schneerson, leader of the Cato children and extricate them. Lifsh tried to worldwide community of Lubavitch Hasidic help, but he was attacked by the crowd, consist- Jews, visited the graves of his wife and his ing predominately of the Caribbean- and Afri- father-in-law, the former Grand Rebbe. The car can-Americans who lived on the street. One of he was in headed for the international headquar- the Mercury’s riders tried to call 911 on a ters of the Lubavitchers on Eastern Parkway in portable phone, but he said that the crowd Crown Heights, a neighborhood in the heart of attacked him before he could complete the call. Brooklyn, New York. As usual, the car carrying He was rescued by an unidentified bystander. the Rebbe was preceded by an unmarked car At 8:22 PM two police officers from the 71st from the 71st Precinct of the New York City Precinct were dispatched to the scene of the Police Department. The third and final car in accident.
    [Show full text]
  • The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters
    4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBoRAh F. RUTTER, President CONCERT HALL Monday Evening, April 16, 2018, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2018 NEA Jazz Masters Tribute Concert Honoring the 2018 National Endowment for the Arts Jazz Masters TODD BARKAN JOANNE BRACKEEN PAT METHENY DIANNE REEVES Jason Moran is the Kennedy Center Artistic Director for Jazz. This performance will be livestreamed online, and will be broadcast on Sirius XM Satellite Radio and WPFW 89.3 FM. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18 10:33 AM Page 2 THE 2018 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, Kennedy Center Artistic Director for Jazz With remarks from JANE CHU, Chairman of the National Endowment for the Arts DEBORAH F. RUTTER, President of the John F. Kennedy Center for the Performing Arts The 2018 NEA JAzz MASTERS Performances by NEA Jazz Master Eddie Palmieri and the Eddie Palmieri Sextet John Benitez Camilo Molina-Gaetán Jonathan Powell Ivan Renta Vicente “Little Johnny” Rivero Terri Lyne Carrington Nir Felder Sullivan Fortner James Francies Pasquale Grasso Gilad Hekselman Angélique Kidjo Christian McBride Camila Meza Cécile McLorin Salvant Antonio Sanchez Helen Sung Dan Wilson 4-16 JAZZ NEA Jazz.qxp_WPAS 4/6/18
    [Show full text]
  • Imsk Week for Everyone in the Business of Ivlusic 13 MOVEMBER 1993 £2.8
    imsk week For Everyone in the Business of IVlusic 13 MOVEMBER 1993 £2.8 BPI: pil himnow The music industry has roundly con- Keely Gilbert, of Chris Rea's man- Highdemned Court the judge warning last metedweek to eut alleged by a wasagement able toReal order Life, video says bootlegs the company of Rea's bootleggerCharlesworth, Stephen previously Charlesworth. of Clwyd- threeconcerts months by phone. to arrive "They and took were about rub- guilty in the High Court of breaching judgebish," isn'tshe muchadds. of "A a punishment."warning from a latingan injunction leaflets stopping advertising him from circu-video APUThe on case Designatec's arose from premises a raid inby May, the That,bootlegs Chris of Rea,top artistsand Peter such Gabriel. as Take CharlesworthMr Justice to payFerris the costs ordered of the behalfBPI, which of sixhad memberbrought thecompanies. case on Charlesworth was also wamed that and July 26 the BPI wouid have ceedingsSubsequently for conte. tl : BPI bi CourtStephen last Charlesworth week after heing leaves found the inHigh And warning to pii pirated acts unauthorised Take That_ he videoshad offered and contempt of an injunction restraining "It's laughable," says lan Grant, mai tapesCharlesworth for sale in July. appeared in the High advertisinghim from circulating pirate audio leaflets and hootleg iEVERLEY plainedager of inBig the Country, past of leafletswho has offerin con Court ins Septemberadjourned' for " but s1 the proceed-' until video cassettes. Charlesworth, of video bootlegs of the band. This maki photographerClwyd,
    [Show full text]
  • Various Funky Disco Mp3, Flac, Wma
    Various Funky Disco mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Pop Album: Funky Disco Country: Australia Style: Disco MP3 version RAR size: 1804 mb FLAC version RAR size: 1783 mb WMA version RAR size: 1315 mb Rating: 4.4 Votes: 471 Other Formats: MP2 VOX VOC MP4 APE ADX DXD Tracklist A1 –Wild Cherry Play That Funky Music A2 –Rose Royce Car Wash A3 –Tina Charles I Love To Love A4 –KC & The Sunshine Band Shake Your Booty A5 –Silver Convention I Like It A6 –Roberta Kelly Trouble Maker A7 –Andrea True Connection More More More A8 –B.T. Express Energy To Burn A9 –Manhattans Kiss And Say Goodbye A10 –Labelle Get You Somebody New B1 –Silver Convention Get Up And Boogie B2 –The Ritchie Family Best Disco In Town B3 –Donna Summer Love To Love You Baby B4 –Walter Murphy 5th Of Beethoven B5 –Giorgio* Knights In White Satin B6 –Gladys Knight & The Pips* I Feel A Song B7 –R & J Stone We Do It B8 –Disco Tex & His Sex-O-Lettes Get Dancin' B9 –Romano Wulf, Silver Convention Save The Last Dance For Me B10 –Barry White Let The Music Play Barcode and Other Identifiers Matrix / Runout (Side 1 - printed):): A MX179135-B NA498-1 Barcode (Side 2 - printed):): A MX179136-B NA498-2 Related Music albums to Funky Disco by Various Silver Convention - Thank You Silver Convention - Discotheque Volume 2 Silver Convention - Silver Convention Promotion Disc - Extracts From Silver Convention Discotheque Volumes I & II Silver Convention - No, No, Joe / Play Me Like A Yo-Yo Silver Convention - The Best Of Silver Convention Various - Absolument Disco Vol.
    [Show full text]
  • Disco Top 15 Histories
    10. Billboard’s Disco Top 15, Oct 1974- Jul 1981 Recording, Act, Chart Debut Date Disco Top 15 Chart History Peak R&B, Pop Action Satisfaction, Melody Stewart, 11/15/80 14-14-9-9-9-9-10-10 x, x African Symphony, Van McCoy, 12/14/74 15-15-12-13-14 x, x After Dark, Pattie Brooks, 4/29/78 15-6-4-2-2-1-1-1-1-1-1-2-3-3-5-5-5-10-13 x, x Ai No Corrida, Quincy Jones, 3/14/81 15-9-8-7-7-7-5-3-3-3-3-8-10 10,28 Ain’t No Stoppin’ Us, McFadden & Whitehead, 5/5/79 14-12-11-10-10-10-10 1,13 Ain’t That Enough For You, JDavisMonsterOrch, 9/2/78 13-11-7-5-4-4-7-9-13 x,89 All American Girls, Sister Sledge, 2/21/81 14-9-8-6-6-10-11 3,79 All Night Thing, Invisible Man’s Band, 3/1/80 15-14-13-12-10-10 9,45 Always There, Side Effect, 6/10/76 15-14-12-13 56,x And The Beat Goes On, Whispers, 1/12/80 13-2-2-2-1-1-2-3-3-4-11-15 1,19 And You Call That Love, Vernon Burch, 2/22/75 15-14-13-13-12-8-7-9-12 x,x Another One Bites The Dust, Queen, 8/16/80 6-6-3-3-2-2-2-3-7-12 2,1 Another Star, Stevie Wonder, 10/23/76 13-13-12-6-5-3-2-3-3-3-5-8 18,32 Are You Ready For This, The Brothers, 4/26/75 15-14-13-15 x,x Ask Me, Ecstasy,Passion,Pain, 10/26/74 2-4-2-6-9-8-9-7-9-13post peak 19,52 At Midnight, T-Connection, 1/6/79 10-8-7-3-3-8-6-8-14 32,56 Baby Face, Wing & A Prayer, 11/6/75 13-5-2-2-1-3-2-4-6-9-14 32,14 Back Together Again, R Flack & D Hathaway, 4/12/80 15-11-9-6-6-6-7-8-15 18,56 Bad Girls, Donna Summer, 5/5/79 2-1-1-1-1-1-1-1-2-2-3-10-13 1,1 Bad Luck, H Melvin, 2/15/75 12-4-2-1-1-1-1-1-1-1-1-1-2-2-3-4-5-5-7-10-15 4,15 Bang A Gong, Witch Queen, 3/10/79 12-11-9-8-15
    [Show full text]
  • Formato IBERMARC Para Registros Bibliográficos (Tomo
    FORMATO IBERMARC PARA REGISTROS BIBLIOGRÁFICOS SEXTA EDICIÓN TOMO II BIBLIOTECA NACIONAL MADRID, 2001 Formato IBERMARC para registros bibliográficos. — 6ª ed. — Madrid : Biblioteca Nacional, 2001- 2v.;31cm Puesta al día mediante hojas sueltas actualizables D.L. M 6719-2002. — ISBN 84-88699-50-6. — NIPO 180-01-014-8 1. Catalogación bibliográfica-Proceso de datos-Normas. 2. IBERMARC- Formatos. I. Biblioteca Nacional (España) 025.31 IBERMARC (083.7) Edita: Biblioteca Nacional Ministerio de Educación, Cultura y Deporte ã Ministerio de Educación, Cultura y Deporte NIPO: 180-01-014-8 ISBN: 84-88699-50-6 (Obra completa) ISBN: 84-88699-55-7 (Tomo II) Depósito Legal: M. 6.719-2002 Imprime: Sociedad Anónima de Fotocomposición. Talisio, 9. 28027 Madrid Campos de encabezamiento CAMPOS DE ENCABEZAMIENTO - SECCIONES DE INFORMACIÓN GENERAL X00 Nombres de persona-Información general X10 Nombres de entidad-Información general X11 Nombres de congreso-Información general X30 Título uniforme-Información general DEFINICIÓN Y ALCANCE DEL CAMPO Las secciones X00, X10, X11 y X30 contienen información general sobre el uso de los elementos de datos específicos de los campos 1XX (Encabezamientos principales), 6XX (Campos de encabezamiento de materia), 700/730 (Encabeza- mientos secundarios) y 8XX (Encabezamientos secundarios de serie). En IBERMARC, las definiciones de los subcampos van en las secciones de informa- ción general correspondientes (p. ej. los campos X10) lográndose con ello una mayor coherencia dentro del conjunto, a la vez que se facilita una ayuda de carác- ter mnemotécnico. Este procedimiento queda perfectamente reflejado en el caso de los campos de nombres, títulos uniformes y términos que se utilizan como en- cabezamientos en puntos de acceso.
    [Show full text]
  • Joni's Come a Long
    CONCERT REVIEW 1,1,,,,11111111111111,,,,111, Atlantic LP Release NEW YORK - Atlantic/Atco Joni's Come A Long Way Records senior vice president of marketing Dave Glew has an- NEW YORK - Joni Mitchell, ing her smooth, thick voice with With the house lights up and nounced a 12 album release for (Asylum) has come a long way her able accompaniment on am- her cigarette in hand Joni re- February. The release is headed from her first record, "Song to a plified acoustic guitar. A painfully, turned for a single encore with by the seventh Led Zeppelin al- Seagull to her most recent, bittersweet clarinet solo by Tom "Twisted." Pausing in the middle bum called "Presence" on Swan "The Hissing of Summer Lawns." Scott provided a memorable con- of the song she asked the audi- Song, Bill Wyman's "Stone Her early music was ethereal and clusion to "Cold Blue Steel." ence, "Are you all enjoying your Alone" on Rolling Stone and "A acoustic. Relying heavily on the From her new album Joni per- craziness?" A unanimous yes was Trick of the Tail" by Genesis. simple versatility of her voice and formed songs like "Shades of the reply. The jazz/rock/r&b fusion in guitar she was a one woman Scarlet Conquering," "Shadows Like her songs that speak of music is represented by Billy band. Her contemporary sound and Light" and "Harry's House/ people as, "duplistic cowards of Cobham's sixth album "Life & oozes with the technological Centerpiece." She also introduced some multiplicity torn between Times," "That Is Why You're slickness of electronic music four new numbers, "Don Juan's high ideals and the temptation of Overweight" by Eddie Harris and played in the jazz -oriented ar- Reckless Daughter" and "Coyote" the serpent," Joni is still singing "Aurora" by jazz-violinst Jean- rangements of her back-up band, (both written while she toured to us, about us.
    [Show full text]
  • Various Ultimate Disco Mix Mp3, Flac, Wma
    Various Ultimate Disco Mix mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Ultimate Disco Mix Country: UK Released: 1998 Style: Disco MP3 version RAR size: 1262 mb FLAC version RAR size: 1671 mb WMA version RAR size: 1854 mb Rating: 4.6 Votes: 639 Other Formats: MMF APE VOC DTS MIDI MP2 AC3 Tracklist 1-01 –Sister Sledge He's The Greatest Dancer 1-02 –Diana Ross I'm Coming Out 1-03 –Wild Cherry Play That Funky Music 1-04 –The Whispers And The Beat Goes On 1-05 –The Players Association Turn The Music Up 1-06 –Herbie Hancock I Thought It Was You 1-07 –Gene Chandler Get Down 1-08 –LaBelle Lady Marmalade 1-09 –Heatwave Boogie Nights 1-10 –Donna Summer Hot Stuff 1-11 –Gibson Brothers Cuba 1-12 –The Michael Zager Band Let's All Chant 1-13 –Odyssey Use It Up & Wear It Out 1-14 –Dan Hartman Instant Replay 1-15 –Earth, Wind & Fire & The Emotions Boogie Wonderland 1-16 –The Real Thing Can You Feel The Force 1-17 –Edwin Starr Contact 1-18 –Sylvester You Make Me Feel (Mighty Real) 1-19 –The Jacksons Can You Feel It 1-20 –Evelyn King Shame 1-21 –Amii Stewart Knock On Wood 1-22 –Curtis Mayfield Superfly 2-01 –Yarbrough & Peoples Don't Stop The Music 2-02 –The Fatback Band Do The Bus Stop (Are You Ready) 2-03 –Commodores Brickhouse 2-04 –Tom Browne Funkin' For Jamaica 2-05 –Kool & The Gang Ladies Night 2-06 –Shalamar A Night To Remember 2-07 –The Emotions Best Of My Love 2-08 –Gloria Gaynor I Will Survive 2-09 –Narada Michael Walden I Shoulda Loved Ya 2-10 –Crown Heights Affair You Gave Me Love 2-11 –Frantique Strut Your Funky Stuff 2-12 –Steve Arrington Feel So Real 2-13 –Rockers Revenge Walking On Sunshine 2-14 –Evelyn King Love Come Down 2-15 –David Joseph You Can't Hide (Your Love From Me) 2-16 –Lipps, Inc.
    [Show full text]
  • "JOHN KLEMMER BIOGRAPHY" (& Addendum) John Klemmer Is An
    "JOHN KLEMMER BIOGRAPHY" (& Addendum) John Klemmer is an enigma to many. He seems to be a "different artist" to "different people" depending on which musical direction & time period of Klemmer's music they are attached to, are aware of & prefer. John Klemmer began playing guitar at age 5. After interests in graphics and visual art studying at The Art Institute of Chicago & with ambitions of being Dancer, Puppeteer, Painter, Sculptor, Writer, & Poet. He began Alto Sax at age 11, switching to Tenor Sax when entering High School. He spent years of extensive private lessons in Piano, Conducting, Harmony & Theory, Composition, Arranging, Clarinet, Flute, & Classical & Jazz Saxophone that continued through all his years in Chicago. He also attended Interlochen's National Music Camp immersed in the study of Classical Music & "Legitimate Classical" Saxophone etc. He turned down an offer of a four scholarship there to return to "study" in the jazz clubs etc. of Chicago. Immediately upon graduating from High School, noted jazz producer, Esmond Edwards, signed Klemmer to Cadet/Chess Records for five plus albums, his first 2 recordings being "straight ahead jazz", and then, abruptly & surprisingly if not confusing to many, of which would eventually become a trademark of his career, changed musical directions, recording the innovative hit album of the first, slightly preceding the release of Miles Davis "Bitches Brew", of the "jazz/rock fusion" genre, "Blowin Gold", co-produced by ex Rolling Stones Records producer, Marshall Chess, for the new Cadet Concept label on Chess Records. Here John introduced his use with electronics, primarily the "delay effect", which would become his life long "trademark sound", as well as, uses of the "wah wah" pedal & "ring modulator" etc.
    [Show full text]
  • The A-Z of Brent's Black Music History
    THE A-Z OF BRENT’S BLACK MUSIC HISTORY BASED ON KWAKU’S ‘BRENT BLACK MUSIC HISTORY PROJECT’ 2007 (BTWSC) CONTENTS 4 # is for... 6 A is for... 10 B is for... 14 C is for... 22 D is for... 29 E is for... 31 F is for... 34 G is for... 37 H is for... 39 I is for... 41 J is for... 45 K is for... 48 L is for... 53 M is for... 59 N is for... 61 O is for... 64 P is for... 68 R is for... 72 S is for... 78 T is for... 83 U is for... 85 V is for... 87 W is for... 89 Z is for... BRENT2020.CO.UK 2 THE A-Z OF BRENT’S BLACK MUSIC HISTORY This A-Z is largely a republishing of Kwaku’s research for the ‘Brent Black Music History Project’ published by BTWSC in 2007. Kwaku’s work is a testament to Brent’s contribution to the evolution of British black music and the commercial infrastructure to support it. His research contained separate sections on labels, shops, artists, radio stations and sound systems. In this version we have amalgamated these into a single ‘encyclopedia’ and added entries that cover the period between 2007-2020. The process of gathering Brent’s musical heritage is an ongoing task - there are many incomplete entries and gaps. If you would like to add to, or alter, an entry please send an email to [email protected] 3 4 4 HERO An influential group made up of Dego and Mark Mac, who act as the creative force; Gus Lawrence and Ian Bardouille take care of business.
    [Show full text]
  • Download Doppelte Singles
    INTERPRET A - TITEL B - TITEL JAHR LAND FIRMA NUMMER 10 CC DREADLOCK HOLIDAY NOTHING CAN 1978 D MERCURY 6008 035 10 CC GOOD MORNING JUDGE DON'T SQUEEZE 1977 D MERCURY 6008 025 10 CC I'M MANDY FLY ME HOW DARE YOU 1975 D MERCURY 6008 019 10 CC I'M NOT IN LOVE GOOD NEWS 1975 D MERCURY 6008 014 2 PLUS 1 EASY COME, EASY GO CALICO GIRL 1979 D PHONOGRAM 6198 277 3 BESOFFSKIS EIN SCHÖNER WEISSER ARSCH LACHEN IST 0D FLOWER BMB 2057 3 BESOFFSKIS HAST DU WEINBRAND IN DER BLUTBAHN EIN SCHEICH IM 0 D FLOWER 2131 3 BESOFFSKIS PUFF VON BARCELONA SYBILLE 0D FLOWER BMB 2070 3 COLONIAS DIE AUFE DAUER (DAT MALOCHELIED) UND GEH'N DIE 1985 D ODEON 20 0932 3 COLONIAS DIE BIER UND 'NEN APPELKORN WIR FAHREN NACH 0 D COLONGE 13 232 3 COLONIAS DIE ES WAR IN KÖNIGSWINTER IN D'R PHILHAR. 1988 D PAPAGAYO 1 59583 7 3 COLONIAS DIE IN AFRICA IST MUTTERTAG WIR MACHEN 1984 D ODEON 20 0400 3 COLONIAS DIE IN UNS'RER BADEWANN DO SCHWEMB HEY,ESMERALDA 1981 D METRONOME 30 401 3 MECKYS GEH' ALTE SCHAU ME NET SO HAGENBRUNNER 0 D ELITE SPEC F 4073 38 SPECIAL TEACHER TEACHER (FILMM.) TWENTIETH CENT. 1983 D CAPITOL 20 0375 7 49 ERS GIRL TO GIRL MEGAMIX 0 D BCM 7445 5000 VOLTS I'M ON FIRE BYE LOVE 1975 D EPIC EPC S 3359 5000 VOLTS I'M ON FIRE (AIRBUS) (A.H.) BYE LOVE 1975 D EPIC EPC S 3359 5000 VOLTS MOTION MAN LOOK OUT,I'M 1976 D EPIC EPC S 3926 5TH DIMENSION AQUARIUS DON'T CHA HEAR 1969 D LIBERTY 15 193 A FLOCK OF SEAGULLS WISHING COMMITTED 1982 D JIVE 6 13 640 A LA CARTE DOCTOR,DOCTOR IT WAS A NIGHT 1979 D HANSA 101 080 A LA CARTE IN THE SUMMER SUN OF GREECE CUBATAO 1982 D COCONUT
    [Show full text]
  • Walpole Public Library DVD List A
    Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair,
    [Show full text]