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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Thu Apr 09, 2009 5:43 pm 
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Great information for a great Dj-producer...

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 Post subject: "The Harris Machine" Norman Harris
 Post Posted: Fri Apr 10, 2009 5:46 am 
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"The Harris Machine" Norman Harris

Norman Harris (October 14, 1947 in Philadelphia, Pennsylvania – March 20, 1987 in Philadelphia) was an American guitarist, producer, arranger and songwriter associated with Philly soul. He was a founding member of MFSB and one-third of the production trio of Baker-Harris-Young.
As one third of the production trio of Baker-Harris-Young, he produced hits on First Choice, Eddie Holman, the Salsoul Orchestra, and Love Committee for Salsoul Records, as well as Atlantic Records acts the Trammps. He also had hits with Gloria Gaynor ("Honey Bee"), the Delfonics ("La La Means I Love You," "Didn't I Blow Your Mind"), Jerry Butler ("Hey Western Union Man," "Only the Strong Survive"), Wilson Pickett ("Engine Number 9," "Don't Let the Green Grass Fool You"), Joe Simon ( "Drowning in the Sea of Love," "Power of Love"), and the Spinners ("I'll Be Around," "Could It Be I'm Falling in Love"), among many others. Beside fellow MFSB members drummer Earl Young and bassist Ron Baker, Harris' frequent songwriting partners were Allan Felder and Bunny Sigler. He came up with his unique string and horn arrangements by composing the parts on his guitar.
Harris and Baker first teamed up late in the '50s, and began playing in Philly-area clubs. When they got calls for recording sessions in the '60s, the duo began working with drummer Karl Chambers. Later adding drummer Young, the trio began to build up a considerable reputation as a tight rhythm section. After playing on so many hits, they decided to form a record label and music-publishing firm called Golden Fleece, and worked out a deal with Sigma Sound Studios owner Joe Tarsia. Vocal trio First Choice was introduced to Harris by WDAS DJ Jimmy Bishop, and began recording for the Philly Groove label distributed by Bell Records. The hits began to come: "Armed and Extremely Dangerous," "Smarty Parts," "The Player," and "Newsy Neighbors." When Harris started his own Salsoul-distributed Gold Mind label in 1979, he signed the group. Harris also became a recording artist, recording as the Harris Machine and one self-titled 1979 Salsoul LP as a part of Baker-Harris-Young.
He died of Cardiovascular disease.


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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Fri Apr 10, 2009 3:41 pm 
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This is THE MAN!!!
I love everything he is on from "I Just Can't Stop Dancing" by Archie Bell & The Drells in 1968 to "Itchin' For Love" by Mikki Farrow in 1983 !!!!

Attachment:
norman harris.jpg
norman harris.jpg [ 11.99 KiB | Viewed 4607 times ]


If you look on Discogs you will see all the music he was involved with.

A DISCO legend indeed !!!!!!

Thanks Dancer !!!!

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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Sat Apr 11, 2009 5:48 am 
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Amen to that...

A TRUE legend - to say the least !

// Discoguy

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 Post subject: Vincent Montana, Jr.
 Post Posted: Sat Apr 11, 2009 9:13 am 
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Vincent Montana, Jr.

Vincent Montana Jr. (born February 12, 1928) is an American composer, arranger, and percussionist, most known as a member of MFSB and as the founder of the Salsoul Orchestra.
He is the spiritual father of the Salsoul Orchestra, the backing band for the many acts on Salsoul Records. The personnel of MFSB and the Salsoul orchestra overlapped substantially, and both groups were recorded at Philadelphia's famous Sigma Sound Studios.
In recent years Mr. Montana has worked with famed house music duo Masters at Work, which has rekindled interest in his work. Ken Cayre, founder of Salsoul Records, has praised Mr. Montana's skill at scoring strings, brass, and diverse percussion in such way that it all worked within a dance recording. As Mr. Montana was among the first with his considerable training and skill to apply such scoring technique to disco-oriented recordings, it is safe to say he is a true pioneer in the field.
Montana and famed mixer Tom Moulton had a rocky professional relationship at Salsoul, most likely because Moulton was in the constant position of retouching Montana's work (this was Moulton's appointed profession). In reality, both men would seem to have little reason to be adversarial: They share a legendary status in dance music culture.
Selected discography:

Salsoul Records
With the Salsoul Orchestra
Salsoul Orchestra/1975/SZS-5501
Nice 'n' Nasty/1976/SZS-5502
Christmas Jollies/SZS-5507
Magic Journey/SZS-5515
Up the Yellow Brick Road/1978/Salsoul SA-8500
with Charo
Cuchi-Cuchi/Charo & The Salsoul Orchestra/SZS-5519

Atlantic records
with the Montana Sextet
Dance Fantasy/Close Encounters of Every Kind/1978
I love Music/1978
with Goody Goody
Goody Goody/1978, tunes arranged by Vince Montana of the the Salsoul Orchestra and label.

United Artists records
Electric Indian -- Keem-O-Sabe
Late 60's goofy mix of groovy instrumental sounds, plus a weird "Apache"-esque instrumentation. Sort of funky in parts, with arrangements by Vince Montana that were recorded at Sigma Sound.

CBS records
LP 36109/Fania All Stars/Crossover/1979
Side two is produced by Vince, and it sounds just like pre-1978 Salsoul Orchestra. I found this record in Brussels. Side 1 features a classic latin sound, with the strings arranged by Montana. The "Isadora" track begins with waltz (as in Johan Strauss) strings and continues in a a latin vein with the sweet vocals of Celia Cruz. The album has a nice cover and is a must for Montana fans.

Free Spirit records (sublabel of Salsoul records)
The Anvil Band: inlcuding Nice Vibes, a Montana composition and a couple of Bataan tracks (The Tunnel, Sadie, instrumental version of 'Continental Square Dance) plus Let'Dance which is accredited to Bataan but which actually a remake of Charo's 'Dance A Little Bit Closser'

PIR records
MFSB 1973
T S O P 1974
Love Is the Message 1975
Universal Love 1975
Philadelphia Freedom 1975
Summertime 1976
End of Phase One 1978 (compilation)
M F S B & Gamble Huff Orchestra 1978
Mysteries of the World 1980
Black Ivory headed for Philly where. they recorded the single "What Goes Around Comes Around" with it's funky flute solo and marvellous Wukka-Wukka guitars. This track was arranged by the legendary Vince Montana Jr, and was enough to earn Black Ivory a deal with the mighty Buddah label.

Philly Sound Works records
PSW-12481 Philly Society Philly Medley 1981
PSW-10482 Montana Sextet Heavy Vibes 1982
PSW-12-777 Montana Sextet Who Needs Enemies With Friends Like You? 1983
PSW-12-782 Montana Orchestra South Soul Party Mix 1987
PSW-12-783 Montana Sextet Some Kind Of Wonderful 1988
PSW-778 Trammps What Happened To The Music 1983
side a:What Happened To The Music 5:15
side b:What Happened To The Music (dub) 5:49 / Tramp A Pella To The Music (a Paul Simpson Mix) 2:45
Produced, arranged and conducted by Vince Montana Jr.


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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Sat Apr 11, 2009 8:24 pm 
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Dancer, this is some great info on some of our heros and founding fathers of dance. i would love to know where you got all this. Keeep it coming!
Pooch

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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Sun Apr 12, 2009 1:13 am 
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Hi Dan,thank for your good words!!!
It's really easy with Internet to select infos about people,songs and labels from the Disco past.
The most important thing is that here at disco-disco,we have the chance for communication about all these glory years!!! 8)


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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Sun Apr 12, 2009 6:07 am 
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Dancer !

THANK YOU for another great write-up on another GREAT man...
I really enjoy these... :D

Keep 'em coming !

// Discoguy

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 Post subject: Ashford & Simpson
 Post Posted: Mon Apr 13, 2009 9:46 am 
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Ashford & Simpson

Nickolas Ashford (born May 4, 1942, in Fairfield, South Carolina) and Valerie Simpson (born August 26, 1946 in The Bronx, New York) are a successful husband and wife songwriting/production team and recording artists. They met in the choir of Harlem's White Rock Baptist Church. After having recorded unsuccessfully as a duo, they joined aspiring solo artist and former member of the Ikettes, Josie Jo Armstead, at the Scepter/Wand label where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step At A Time"), as well as the Shirelles and Chuck Jackson. Another of the trio's songs "Let's Go Get Stoned" gave Ray Charles a number one U.S. R&B hit in 1966. Ashford & Simpson then joined Holland/Dozier/Holland at Motown where their best-known songs included "Ain't No Mountain High Enough", "You're All I Need To Get By", "Reach Out And Touch Somebody's Hand" and "Remember Me". As performers, Ashford and Simpson's best-known song is "Solid" (1984 US and 1985 UK).
The duo essentially had two careers: one as a successful writing and producing team and the other as singers and performers themselves. They started their career in the 1960s, writing for artists such as:

Ray Charles ("Let's Go Get Stoned" and "'I Don't Need No Doctor")
The 5th Dimension ("California Soul")
Aretha Franklin ("Cry Like A Baby")

Joining the Motown staff in 1966, they wrote and/or produced all but one of the late 1960s singles Marvin Gaye recorded with Tammi Terrell, including hits such as the original version of:

"Ain't No Mountain High Enough"
"Ain't Nothing Like the Real Thing"
"Your Precious Love"
"You're All I Need to Get By"

Other Motown artists that Ashford & Simpson worked with included:

Diana Ross
"Reach Out and Touch (Somebody's Hand)"
"Ain't No Mountain High Enough"
"Remember Me"
"Surrender"
"The Boss"
"It's My House"
Gladys Knight & The Pips
"Didn't You Know You'd Have To Cry Sometime"
"The Landlord"
"Bourgie, Bourgie"
"Taste Of Bitter Love"
Smokey Robinson & The Miracles
"Who's Gonna Take The Blame"
The Marvelettes
"Destination:Anywhere"
The Supremes
"Some Things You Never Get Used To"
The Dynamic Superiors
"Shoe, Shoe Shine"

Other artists with whom they had hits were:

Teddy Pendergrass ("Is It Still Good To You") The Brothers Johnson ("Ride-O-Rocket") Chaka Khan, both on her own ("I'm Every Woman" and "Clouds," ) and with Rufus ("Keep It Comin'" and "Ain't Nothin' But a Maybe" )

In 1978, they were featured as vocalists, along with Chaka Khan, on the hit single "Stuff Like That" from Quincy Jones' Sounds...And Stuff Like That album and contributed to the writing of the soundtrack to The Wiz.

Simpson appeared (with Melba Moorman) as part of the "Blood, Sweat & Tears Soul Chorus" on the band's Al Kooper led debut, Child Is Father to the Man.

According to Marvin Gaye in the book "Divided Soul," Simpson did most of the vocals on the last album he did with Tammi Terrell, "Easy," as a way of Tammi's family to have additional income.

Ashford & Simpson's career as artists actually began in 1964, when they recorded "I'll Find You" as "Valerie & Nick." This was followed by several obscure singles Ashford recorded on the Glover, Verve and ABC labels such as "It Ain't Like That", (later recorded by Martha Reeves & The Vandellas), "California Soul" and "Dead End Kids" backed by his own version of "Let's Go Get Stoned," which the duo wrote with their early collaborator Josie Jo Armstead. After concentrating on working with other artists, Simpson was the featured soloist on the songs "Bridge Over Troubled Water" and "What's Going On" on the Quincy Jones albums Gula Matari in 1970 and its follow-up, Smackwater Jack. Simpson subsequently recorded two excellent solo LPs for Motown: Valerie Simpson Exposed in 1971, and, the following year, the album Valerie Simpson, which included the single "Silly Wasn't I," which was sampled on 50 Cent's "Best Friend", from the movie Get Rich or Die Tryin'. The song was also sampled by 9th Wonder on Murs's "Silly Girl" in the album Murray's Revenge. Ashford & Simpson left Motown in 1973, after the albums Simpson recorded for the label received poor promotion and the company refused to release an album of the two of them recording a collection of their most famous songs for other artists. They first came to national prominence when they were featured singing selections from Simpson's solo albums on the PBS TV show Soul!, hosted by Ellis Haizlip in 1971.
Around this time, they got married, and in 1973, they resumed their career as a duo with the Warner Brothers album Gimme Something Real. This was followed by the hit singles, "Don't Cost You Nothin'," in 1977, "It Seems To Hang On" in 1978, "Is it Still Good to Ya" in 1978, "Found A Cure" in 1979, "Street Corner" in 1982, and their biggest hit, "Solid", which they recorded in 1984. They recorded the album Been Found with poet Maya Angelou in 1996. (A complete list of their albums can be found in the discography listed below.)

On his own, Ashford produced, along with Frank Wilson, the mammoth hit "I'm Gonna Make You Love Me", which was recorded by Diana Ross & the Supremes in collaboration with the Temptations in 1968. He also appeared in the movie New Jack City (1991), as Reverend Oates, an ordained minister who was part of Nino Brown's entourage.

Simpson's brothers were in the record business as well: Raymond Simpson replaced Victor Willis in the Village People and their brother Jimmy Simpson, produced the group G.Q., (who had big hits with "Disco Nights" and "I Do Love You"), and was in great demand as a mixing engineer during the disco era.

In recent times, Ashford & Simpson have recorded and toured sporadically and in 1996, they opened the restaurant and live entertainment venue Sugar Bar in New York City, which has an open mic on Thursday nights where performers have included Queen Latifah and Felicia Collins. Around this time, they were also featured disc jockeys on New York's KISS-FM radio station.
On August 16th, 2006, Playbill Online reported that they are writing the score for a musical based on E. Lynn Harris's novel Invisible Life. In January 2007, they, along with Tina Turner, Mary J. Blige, Mariah Carey, Sidney Poitier, director Spike Lee and comedian Chris Tucker, accompanied Oprah Winfrey when she opened up the school for disadvantaged girls in South Africa.
The duo continues to write and score today. They are given credit for their writing talents on the Amy Winehouse 2007 CD "Back to Black" for the single "Tears Dry On Their Own". The track is based on Marvin Gaye and Tammi Terrell's 1967 Motown classic hit "Ain't No Mountain High Enough". They have started performing their live act in intimate spaces such as Feinstein's at the Regency in New York and the Rrazz Room in San Francisco and in January 2009, released a CD and DVD of their live performance, entitled The Real Thing.

Discography

Albums
1971 Exposed (Motown)
1972 Valerie Simpson (Motown)
1973: Gimme Something Real (Warner Bros.) - US #156, R&B #18
1973: Keep It Coming' (Motown)
1974: I Wanna Be Selfish (Warner Bros.) - US #195, R&B #21
1976: Come as You Are (Warner Bros.) -US #189, R&B #35
1977: Send It - (Warner Bros.) - US #52, R&B #10
1977: So So Satisfied (Warner Bros.) - US #180, R&B #30
1978: Is It Still Good to Ya (Warner Bros.) - US #20, R&B #1
1979: Stay Free (Warner Bros.) - US #23, R&B #3
1980: A Musical Affair (Warner Bros.) - US #38, R&B #8
1981: Performance (Warner Bros.) - US #125, R&B #45
1982: Street Opera (Capitol) - US #45, R&B #5 (digital release from Stateside Records) [2]
1983: High-Rise (Capitol) - US #84, R&B #14 (digital release from Stateside Records) [3]
1984: Solid (Capitol) - US #29, R&B #1 (digital release from Stateside Records) [4]
1986: Real Love (Capitol) - US #74, R&B #12 (digital release from Stateside Records) [5]
1987: Solid Plus Seven (Capitol)
1989: Love or Physical (Capitol) - US #135, R&B #28 (digital release from Stateside Records) [6]
1993: Capitol Gold: The Best of Ashford & Simpson (Captiol)
1996: Been Found (Hopsack & Silk) - R&B #49
2002: The Very Best of Ashford & Simpson (Rhino)
2007: The Best of Ashford & Simpson (Stateside Records[7])
2008: Hits, remixes and rarities (Rhino) 2CD (Partly released in UK as 5 vinyl 12" singles box-set)
2009: The Real Thing ( live in concert ) CD & DVD

Singles
1974: "(I'd Know You) Anywhere" - US #88, R&B #37
1976: "It'll Come, It'll Come, It'll Come" - R&B #96
1976: "Somebody Told A Lie" - R&B #58
1977: "Over And Over" - R&B #39
1977: "Send It" - R&B #15
1977: "So So Satisfied" - R&B #27
1977: "Tried, Tested And Found True" - R&B #52
1978: "By Way Of Love's Express" - R&B #35
1978: "Don't Cost You Nothing" - US #79, R&B #10
1978: "It Seems To Hang On" - R&B #2
1979: "Flashback" - R&B #70
1979: "Found A Cure" - US #36, R&B #2
1979: "Is It Still Good To Ya" - R&B #12
1979: "Nobody Knows" - R&B #19
1980: "Happy Endings" - R&B #35
1980: "Love Don't Make It Right" - R&B #6
1981: "Get Out Your Handkerchief" - R&B #65
1981: "It Shows In Your Eyes" - R&B #35
1982: "Love It Away" - R&B #20
1982: "Street Corner" - US #56, R&B #9
1983: "High-Rise" - R&B #17
1983: "It's Much Deeper" - R&B #45
1984: "I'm Not That Tough" - R&B #78
1984: "Solid" - US #12, R&B #1, Can. #7,
1985: "Babies" - R&B #29
1985: "Outta the World" - R&B #4
1986: "Count Your Blessings" - US #84, R&B #4
1989: "I'll Be There For You" - R&B #2
1990: "Hungry For Me Again" - R&B #40
1996: "Been Found" - R&B #80
1997: "What If" - R&B #94


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 Post subject: Chic
 Post Posted: Tue Apr 14, 2009 2:53 pm 
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Chic 8) 8) 8)

Chic is an American disco and R&B band that was formed in 1976 by guitarist Nile Rodgers and bassist Bernard Edwards. It is best-known for its commercially successful disco songs, including "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)" (1977), "Everybody Dance" (1977), "Le Freak" (1978), "I Want Your Love" (1978), "Good Times" (1979), and "My Forbidden Lover" (1979).
Chic has recently been nominated for possible 2009 induction into the Rock and Roll Hall of Fame.

1976–1978: Origins and early singers
Nile Rodgers and Bernard Edwards met in 1970, as fellow session musicians working around the New York City circuit. They formed a rock band called The Boys and later The Big Apple Band, playing numerous gigs around New York City. But despite interest in their demos, they could not get a record contract, possibly in part because music companies of the time didn't believe that black artists could create saleable rock music.

In 1977, Edwards and Rodgers had former LaBelle and Ecstasy, Passion, & Pain drummer Tony Thompson join the band, performing as a trio doing covers at various gigs. Needing a singer to become a full band, they engaged Norma Jean Wright under an agreement that she wanted to have a dual career between the band and her solo career. Using a young recording engineer Bob Clearmountain, they created a demo tape which included the tracks "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)" and "Everybody Dance," which sent the renamed Chic out on the road as a support act. ("Everybody Dance" was later covered by famous Drag Queen RuPaul on his 1st album in the early 90's)
Now signed to Atlantic Records, in 1977 they released the self-titled debut album Chic which was an extension of the demo tape. But Edwards and Rogers were now convinced that to replicate the bands recording studio sound live in sound and visuals, they needed to add another female singer to front the band. Wright suggested her friend Luci Martin, who became a member in late winter/early spring of 1978.

Right after the sessions ended for its debut album, the band members began to work on Wright's self-titled debut solo album Norma Jean, released in 1978. This album contained club hit "Saturday." To facilitate Wright's solo career, intended to be parallel to her Chic career, the band had agreed to sign her to a separate contract and label. Unfortunately the legalities of this contract eventually forced Wright to leave the band in mid-1978, but not before she took part in the sessions for Chic-produced Sister Sledge album We Are Family. She was replaced by Alfa Anderson, who had been on back up vocals on the band’s debut album. For the Sister Sledge project, Edwards and Rogers wrote and produced "He's the Greatest Dancer" (originally intended to be a Chic song) in exchange for "I Want Your Love" (originally intended to be performed by Sister Sledge).

1978–1979: "Le Freak" and "Good Times"
In late 1978, the band released C'est Chic, containing one of its best-known tracks, "Le Freak." Created from a champagne-fuelled jam session in Edwards apartment, after they had failed on New Years Eve to meet with Grace Jones at New York's exclusive nightclub Studio 54. The original hook line "Aaa, fuck off" aimed at the door men at Studio 54, was replaced that night with "Aaa, freak out" after trying a version with "Aaa, freak off."[2] The resultant single was a massive success, topping the US charts and selling over 6 million copies. It was the biggest-ever selling single ever of Atlantic's parent company, Warner Music, until replaced by Madonna's Vogue in 1990.

The following year, the group released the Risqué album and the lead track "Good Times," one of the most important and influential songs of the era. The track formed the backbone of Grandmaster Flash's "Adventures on the Wheels of Steel" and the Sugarhill Gang's breakthrough hip-hop single, "Rapper's Delight", and it has been endlessly sampled since by many dance and hip-hop acts, as well as being the inspiration for Queen's "Another One Bites The Dust" and also Blondie's "Rapture" also for the bass line of Daft Punk "Around the World".

At the same time, Edwards and Rodgers composed, arranged, performed, and produced many influential disco and R&B records for both established artists and one-hit wonders, including Sister Sledge's albums We Are Family (1979) and Love Somebody Today (1980); Sheila and B. Devotion's "Spacer"; Diana Ross's 1980 album Diana, which included the hit singles "Upside Down", "I'm Coming Out" and "My Old Piano"; Carly Simon's "Why" (from 1982 soundtrack Soup For One); and Deborah Harry's debut solo album.

Chic also helped introduce the world to an up-and-coming young vocalist named Luther Vandross, who sang on several of Chic's albums, and helped define the distinctive vocal style of Chic. That style he used on his big breakthrough, the disco band Change's debut album "The Glow of Love" in 1980.

1980s–1990s: Disbanding, other projects, a brief reunion
In the early 1980s, in the aftermath of the anti-disco backlash, the band struggled to obtain both airplay and sales, and it eventually disbanded. Rodgers and Edwards produced records for a wide variety of artists separately. Together, they produced the hugely successful Diana album for Diana Ross in 1980, which yielded the number-one single "Upside Down" and the Top-Ten hit "I'm Coming Out." "My Old Piano" was also a Top-Ten single for Ross in the United Kingdom. Rodgers co-produced David Bowie's 1983 album Let's Dance and was also largely responsible for the breakthrough success of Madonna Ciccone in 1984 with her Like a Virgin album. Madonna's first proper hit single, 1983's "Holiday," was just like Blondie's "Rapture" and the Sugar Hill Gang's "Rappers Delight," both heavily influenced and a tribute to the Chic sound in general and "Good Times" in particular. Though it is seldom noted, "Like a Virgin" might be considered a Chic album of sorts in that it reunited Rogers, Thompson, Edwards, keyboardist Rob Sabino, and collaborators Jeff Bova and Jimmy Bralower. In 1984, Rodgers was involved with Robert Plant’s Honeydrippers project and helped produce that band's only EP. Thompson and Edwards worked with the super group Power Station on its 1985 hit album, as well as Power Station lead singer Robert Palmer's solo smash Riptide that same year (both of which Edwards produced). In 1986, Rodgers produced Notorious, the fourth album from Duran Duran.

After a 1989 birthday party where Rodgers, Edwards, Paul Shaffer, and Anton Fig played old Chic hits to rapturous response, Rodgers and Edwards organized a reunion of the old band. They recorded new material—a single, "Chic Mystique" (remixed by Masters at Work) and subsequent album Chic-Ism, both of which charted—and played live all over the world, to great audience and critical acclaim.

In 1996 Rodgers was honored as the Top Producer in the World in Billboard Magazine, and was named a JT Super Producer. That year, he performed with Bernard Edwards, Sister Sledge, Steve Winwood, Simon Le Bon, and Slash in a series of commemorative concerts in Japan, which provided a career retrospective. Unfortunately, his longtime musical partner Edwards died of pneumonia at age 43 during the trip on April 18, 1996. His final performance was recorded and released as Live at the Budokan. Chic continued to tour with new musicians.
Thompson died of kidney cancer on November 12, 2003, at age 48.

2000s - CHIC
CHIC has been nominated for inclusion in the Rock & Roll Hall of Fame five times—2003, 2006, 2007, 2008 and 2009. Rodgers and CHIC continue to perform to sold-out venues worldwide.

Influences and awards
Chic influenced the vocal and music style of the Italian-American disco band Change, which had a string of hits in the early 1980s.

In addition to refining a relatively minimalist take on the disco sound, Chic helped to inspire other artists to forge their own sound. For example, The Sugarhill Gang used "Good Times" as the basis for its hit "Rapper's Delight", which helped launch the hip hop recorded music format as we know today. Later that year, Vaughn Mason and Crew sampled "Good Times" on its song "Bounce, Rock, Skate, Roll." "Good Times" was also used by Grandmaster Flash and the Furious Five on its hit "..On the Wheels of Steel," which was used in the end sequence of the first hip-hop movie, Wild Style, from 1982. Blondie's 1980 US number-one hit "Rapture" was not only influenced by "Good Times" but was a direct tribute to Chic, and lead singer Deborah Harry's 1981 debut solo album Koo Koo was produced by Edwards and Rodgers.

Chic was cited as an influence by the majority of successful bands to emerge from Great Britain in the 1980s. Even Johnny Marr of The Smiths has cited the group as a formative influence. Rodgers guitar work has been so emulated as to become commonplace, and Edwards' lyrical bass is also much-cited in music circles, as is Thompson's steady and hard-hitting recorded drumwork. Queen got the inspiration for its hit single "Another One Bites the Dust" from Bernard Edwards' familiar bass guitar riff on "Good Times" after John Deacon met the band in The Power Station recording studio. (Source: "Everybody Dance: Chic and the Politics of Disco")

Chic's do-it-yourself attitude served as an uptown version of punk rock's fundamental tenets (while remaining upwardly mobile) and represented a new way for R&B acts to approach their own careers. (The group very quickly grabbed the production reins for its own records, wisely shielded themselves in business matters by forming an umbrella organization from which to administer their services, conceived and formulated their own image, and wrote their own material while holding tight to their publishing rights.)

On September 19, 2005, the group was honored at the Dance Music Hall of Fame ceremony in New York when they were inducted in three categories: 1) Artist Inductees, 2) Record Inductees for "Good Times," and 3) Producers Inductees, Nile Rodgers and Bernard Edwards.

Chic have been nominated for 2009 induction into the Rock and Roll Hall of Fame.

Line up

Core band:

Bernard Edwards - vocals, bass
Nile Rodgers - guitar
Tony Thompson - drums
Alfa Anderson, Luci Martin - lead vocals

The Chic Strings:

Valerie Haywood
Cheryl Hong
Karen Karlsrud
Karen Milne
Gene Orloff

Additional personnel:

Vocals - Fonzi Thornton, Michele Cobbs, Ullanda McCullough, Luther Vandross, Jocelyn Brown
Keyboards- Raymond Jones, Robert Sabino, Andy Schwartz (aka Andrew Barrett)
Percussion - Sammy Figueroa
Tap dance - Sammy Warren

Discography:

Chic (1977) · C'est Chic (1978) · Risqué (1979) · Les Plus Grands Succès De Chic: Chic's Greatest Hits (1979) · Real People (1980) · Take It Off (1981) · Soup For One (soundtrack) (1982) · Tongue in Chic (1982) · Believer (1983) · Chic-Ism (1992) · Chic Freak and More Treats (1996) · Live at the Budokan (1999) · A Night in Amsterdam (2006)

Produced by Chic:

Norma Jean Wright: Norma Jean (1978) · Sister Sledge: We Are Family (1979) · Sheila and B. Devotion: King of the World (1980) · Sister Sledge: Love Somebody Today (1980) · Diana Ross: diana (1980) · Deborah Harry: Koo Koo (1981)


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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Tue Apr 14, 2009 5:27 pm 
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Great info for the "Aliens" of Music 8)

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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Tue Apr 14, 2009 9:32 pm 
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Giorgio,
I had so much catching up to do on this thread since my last visit and boy what a joyfull read it all was. So very interesting and so informative from begining to end. Especially good to see Walter Gibbons on here, so hope we can expand on Walter as there is so much to say about this great man! Thanks for your efforts Giorgio, they are very much appreciated by me....Your a star my brother!

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 Post subject: Giorgio Moroder
 Post Posted: Wed Apr 15, 2009 12:31 am 
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Giorgio Moroder

Giorgio Moroder (born on April 26, 1940 in Ortisei, Italy)is an Italian record producer, songwriter and performer.
His work with synthesizers during the 1970s and 1980s is claimed to have had a significant influence on new wave, house, techno and electronic music in general. Particularly well known for his work with Donna Summer during the era of disco (including "I Feel Love" and Love to Love You Baby), Moroder is the founder of the former Musicland Studios in Munich, which was used as a recording studio for artists including Led Zeppelin, Queen and Elton John for much of the 1980s and 1990s. He also has his own record label the Oasis Records who later became a subdivision of Casablanca Records.
In addition to his work with Donna Summer, Moroder also produced a number of electronic disco hits for The Three Degrees, two albums for Sparks, and produced songs for a variety of others including Madleen Kane, Melissa Manchester, Debbie Harry, Japan, and France Joli.
Often collaborating with lyricist Bellotte, Moroder had a number of hits in his own name including "Son Of My Father" in 1972 and "From Here to Eternity" in 1977, and in the following year releasing "Chase" in 1978, the theme from the film Midnight Express. All were hits in the UK. The full movie score for Midnight Express won him his first Academy Award for best film score in 1978. In 1979 Moroder released his album E=MC². Text on the album's cover stated that it was the "first electronic live-to-digital album." He also released three albums between 1977-1979 under the name Munich Machine.

In 1984, Moroder worked with Philip Oakey of The Human League to make the album Philip Oakey & Giorgio Moroder; which was a UK singles chart hit with "Together in Electric Dreams", titlescore track to the movie of the same name. In 1986, Moroder collaborated with his protege Harold Faltermeyer (of "Axel F." fame) and lyricist Tom Whitlock to create the score for the film Top Gun (1986), with the most noteworthy hit being the Berlin's "Take My Breath Away". "Chase" was also used as an entrance theme for wrestling's group The Midnight Express. In 1987, Moroder produced Falco's song "Body Next to Body".

On September 20, 2004 Moroder was honored at the Dance Music Hall of Fame ceremony, held in New York, when he was inducted for his many outstanding achievements and contributions as producer. In 2005, he was given the title of Commendatore by the then President of the Italian Republic, Carlo Azeglio Ciampi.
In 1984, Moroder compiled a new restoration and edit of the famous silent film Metropolis and provided a contemporary soundtrack to the film. This soundtrack includes pop tracks from Pat Benatar, Jon Anderson, Adam Ant, Billy Squier, Loverboy, Bonnie Tyler and Freddie Mercury. He also integrated the old-fashioned intertitles into the film as subtitles as a means of improving continuity, and he also played the film at a rate of 24 frames per second.
He also scored other popular films in the 1970s and 1980s including Midnight Express, American Gigolo, Flashdance, The Never Ending Story, Thief of Hearts, Electric Dreams, Cat People, Over the Top and Scarface. The latter score has recently regained popularity due to its use in the popular video game Grand Theft Auto III (and Grand Theft Auto: Liberty City Stories). Moroder's "From Here to Eternity" and "Chase" were also used in the Sony PlayStation Portable and PlayStation 2 game Grand Theft Auto: Liberty City Stories. "Together In Electric Dreams", a collaborative effort of Giorgio Moroder and Philip Oakey (of The Human League) features in Grand Theft Auto: Vice City Stories. Moroder wrote the official theme songs, "Reach Out", for the 1984 Los Angeles Olympics, and "Hand in Hand", for the 1988 Seoul Olympics and "Un'estate Italiana" for the 1990 Football World Cup. "The Chase" is now also used as the theme bumper-music for the US AM talk radio program Coast to Coast AM.
In 2002 he provided the score for Leni Riefenstahl's final film, Impressionen unter Wasser a marine documentary.
Notable collaborations:

Maria Conchita Alonso
Edoardo Bennato
Blondie
David Bowie
Cameo
Irene Cara
Cheap Trick
Cher
Roger Daltrey
Elizabeth Daily
Joe Dolan
Paul Engemann
Joe "Bean" Esposito
Falco
France Gall
Sammy Hagar
Nina Hagen
Michael Holm
Amy Holland
Elton John
Helen St. John
Janet Jackson
Japan
Madleen Kane
Chaka Khan
Andy Lau
Kenny Loggins
KMFDM
Amanda Lear
Limahl
Melissa Manchester
Miami Sound Machine
Freddie Mercury
Gianna Nannini
Graham Nash
Olivia Newton-John
Philip Oakey
Psychotica
Leni Riefenstahl[2]
Sabrina Salerno
Sparks
Sigue Sigue Sputnik
Barbra Streisand
Liza Minnelli
Donna Summer
The Sylvers
The Three Degrees
Bonnie Tyler

Partial discography:

Year Title
1969 That's Bubblegum - That's Giorgio
1972 Son of My Father
1974 Giorgio's Music
1975 Einzelganger
1976 Knights in White Satin
1977 From Here to Eternity
1978 Love's in You, Love's in Me (Giorgio and Chris)
Midnight Express - Music From The Original Motion Picture Soundtrack
Music From "Battlestar Galactica" And Other Original Compositions
1979 E=MC²
1980 American Gigolo - Original Soundtrack
1982 Cat People - Original Soundtrack
1983 Solitary Men (with Joe "Bean" Esposito)
Scarface (Music From The Original Motion Picture Soundtrack)
1984 The NeverEnding Story (Giorgio Moroder and Klaus Doldinger)
Metropolis: Original Motion Picture Soundtrack
1985 Innovisions
1990 To Be Number One
1992 Forever Dancing
1998 Moroder and Moroder Art Show (limited to 100 copies)


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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Thu Apr 16, 2009 5:00 am 
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Thanks 'G' for your comprehensive BIOS on some of our favorite artists.
I know it took some time---I finally caught up and I'm looking foreward to more---if you need a hand just let me know!!!!!

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 Post subject: Re: EVERYDAY DISCO
 Post Posted: Thu Apr 16, 2009 6:21 am 
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Amen to that...
Thanks for all the Bio's "G" !

// Discoguy

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