Discografia dos Anos 70 - Página 67

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Free ~ All Right Now 1970 Extended Meow Mix
Time to rock it out! Free was an influential band formed in the UK with vocalist Paul Rodgers, guitarist Paul Kossoff, bassist Andy Fraser and drummer Simon Kirke in 1968. They received great and immediate response from their audiences every where they played due to their exciting live shows and constant touring. Their first two albums, "Tons Of Sobs" and the self titled "Free" both from 1960 did not elicit much response on either side of the pond until a single from their 1970 LP "Fire And Water" called "All Right Now" started the chart fireworks for them. The song peaked at #4 on the Hot100 and drove the sales of the album. An instant anthem, it struck like lightning out of my radio, that rough rock intro and then the rough rock voice of Paul Rodgers kicks in, I remember how exciting it was! FM radio was just coming into its own and hearing this one so clear and crisp in my own home! Yah! As it is with most bands that push themselves too hard, they broke up in 1971 then reformed in 1972 to help and support bandmate Paul Kossoff with his drug addiction problem. Andy Fraser wanted out and away from Kossoff and his problems and he quit the band in late 1970, passing away on March 16, 2015. In 1974 Rodgers and drummer Kirke formed Bad Company. By 1975, Kossoff was better and was invited by his ex bandmates to join them onstage for a two night live gig that got the band back together. While on tour Kossoff died from a pulmonary embolism on March 19, 1976 at the age of 25. Rodgers continued by forming The Firm and then The Law. He completed a stint with the three remaining members of Queen as their vocalist for The Cosmos Rocks LP. He also balanced his career with Bad Company and toured with Simon Kirke from 2012 - 2016. Rock and roll will never die.

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Foxy ~ Get Off 1978 Disco Purrfection Version
Foxy was a latin dance band based in Miami that was the brainchild of Ish Ledesma. Their first single "Get Off Your Ahhh and Dance" was a disco sensation peaking at #16. Their second single "The Way You Do The Things You Do" fared even better peaking at #5 on the Billboard Hot Disco Chart. They started performing "Get Off" to take advantage of the "oooh oooh" chant popular at the time and that Heatwave also successfully utilized in "The Groove Line". At a club gig, they decided to play it and the crowds reaction was immediate and energetic. However the club owner stopped them and threatened to cancel their contract if they played it again. Ish initially agreed, but he ended up playing it anyway and in a flash the bouncers unplugged the equipment and tossed it in the alley, pushing the band right out the back door. Ish then knew he had something special and went into the studio to record the song, bringing in the TK girl group Wildflower to handle the background vocals. It peaked at #9 on the Hot 100, #1 on the R&B chart and at #18 on the Disco Chart. That "oooh oooh" sound was often accompanied by a hand movement where the hand went up for each oooh, then down, then up again revealing the back of the hand and then back again...the sonic hook of Foxy later gave way to the electronic "boo" sound used that made Anita Ward's "Ring My Bell" so damn catchy.

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Michael Jackson ~ Off The Wall 1979 Disco Purrfection Version
I dedicate this upload to my friend Henry Cooper, who suggested I purrfect this one...thanks Coop! Its my 200th YouTube upload. "Off The Wall" brought Michael into adulthood and made him a bona fide superstar. Quincy Jones put forth a concerted effort to showcase the new grown up Michael by having him sing in a lower register that contrasted sharply with the high notes he was capable of exhorting. The first single, "Don't Stop Til You Get Enough" was an across the board smash and "Rock With You" cemented his reputation. The title track was issued as a single and peaked at #10 on the pop charts in early 1980, as did "She's Out Of My Life". His first solo single on Epic was "You Can't Win" from "The Wiz" and did not do well on any chart. The producer of that song was Quincy Jones who would agree to produce Jackson's new project with Michael having complete artistic freedom. While Michael was on the Destiny tour, Jones was busy producing the music tracks and securing a few new songs from Rod Temperton, writer of Heatwave's greatest hits. When Michael arrived at the studio, he was ecstatic over the finished music tracks of Temperton's "Rock With You", "Off The Wall" and "Burn This Disco Out" and stated that these were exactly the kind of songs he had in his head for the new LP.

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War ~ Low Rider 1975 Funky Purrfection Version
As part of 60's group The Animals, Eric Burdon sang lead on the #1 hit "The House Of The Rising Sun" and thirteen other Top 40 tunes. In 1970, he left the Animals and recorded "Spill The Wine" with War, a Latin band from Long Beach, CA who backed him until 1971. Producer Jerry Goldstein had seen the band at a gig in Hollywood and became enamored of their distinctive sound. The original members were Howard Scott, Lee Oskar, Lonnie Jordon, Charles Miller, Thomas Allen, Morris Dickerson and Harold Brown and all shared lead vocals. After the success of "Spill The Wine", Eric left and the band soldiered on to spread their message of brotherhood and harmony and spoke out against social inequalities and gangs. "Slippin' Into Darkness" was issued in 1973 and became a #16 hit and then "The World Is A Ghetto" peaked at #7 in early 1973. "The Cisco Kid" single peaked at #2 for two weeks, becoming their most popular single ever. "Why Can't We Be Friends" LP was issued in 1975 and held two top 10 singles, the title track and second single "Low Rider" both peaked at #7, but then "Low Rider" did one better by taking the #1 spot on the R&B chart for one week. Howard explained that the song came about from the low rider culture, "We went to school with all the low riders and it seemed like a natural thing to write a song about the low riders". During the 50's and 60's, young Chicanos created a car style that expressed the pride and playfulness of the Mexican American culture by installing hydraulics that lowered the car's body closer to the ground and also allowed the car to bounce up and down. The style reached its peak in the mid 70's and became a symbol of Mexican/American pride, the cars decorated with rims with spinners, superior paint jobs, custom interiors with specialized steering wheels made of chain and extensive paint details. At the jam session Charles Miller began singing about low riders after the band found a groove and played it until they felt it was solid, then edited it. The band finished the song adding the horn line and creating an enduring classic 70's tune that has transcended the years.

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Isaac Hayes ~ Theme From "Shaft" 1971 Soul Purrfection Version
here is the performance https://youtu.be/lPE3C0GpDoA Growing up in Detroit during the 60's and 70's had prepared me for the onslaught of soul music, but nothing prepared me for the Isaac Hayes performance of the theme from "Shaft". The sight of this big black bald headed man rising up from the stage in his chain vest signalled a new star. While the movie was considered to be a blaxploitation flick, it was simply a case of making the hard boiled detective a black man and Richard Roundtree personified him. Isaac won his first Grammy with that one. Isaac Lee Hayes was born August 20, 1942 in Covington, Tennessee into a sharecropper family. That meant as farmers, the family could pay the rent on the property by giving the landlord a portion of their harvest instead of money. Musically inclined he began singing gospel at the age of 5. He then taught himself how to play piano, organ, saxophone and flute. Dropping out of high school, his concerned teachers convinced him to complete his studies for his diploma and graduated at the age of 21. He turned down scholarship offers to help keep his family in food and shelter. He sated his musical appetite by playing gigs starting in the late 50's. That turned into his becoming a session player, vocalist and songwriter that led him to work for the legendary Stax label and quickly accumulated hit singles with Dave Porter as his co writer and songs like "Soul Man", "Hold On, I'm Comin'" and "When Something Is Wrong With My Baby" for Sam & Dave. He was instrumental in creating the sound of Stax and finally recorded his first album, "Presenting Isaac Hayes" in 1968. Hayes chose to record his jazzier experiments and the album did not do well. His follow up "Hot Buttered Soul" from 1969 ushered in a new era in soul and established his sound. He even covered the Burt Bacharach written "Walk On By" putting his distinctive stamp on it. He was then asked by the producers of a movie about a black private detective action movie to write the score. He gave them a slow building volcano of a song that combined soul with an orchestra while retaining its street cred with the wah wah guitar and the distinctive high hat tinkling throughout. It was a worldwide smash, spending two weeks at the top of the charts in the US. I remember hearing this song on the radio one school day morning and then it was everywhere. Shaft the movie did very well and saved MGM from ruin, their 1.2 million investment in the movie translated to close to 11 million in ticket sales. Hayes also took him a Golden Globe for the song. He continued to work the TV Movie soundtracks game and did not have another hit until 1974, Joy Part 1 and then in 1979 a cover of Roy Hamilton's "Don't Let Go". Dionne Warwick had a hit with the Hayes written "Deja Vu" that same year. He became a voice actor as Chef for "South Park" and his vocal talents were often used by having him sing songs about getting down with his woman or some sexually suggestive subjects to hilarious effect. Hayes had 14 children with four wives since 1960. On August 10,2008 Hayes was found unresponsive next to a running treadmill that was still in operation. Taken to the hospital, he was declared dead on arrival and found that he died from a stroke. His iconic performance will never be forgotten and I thought it was time to bring this one back in a big way...extra long!

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Boney M ~ Daddy Cool 1976 Disco Purrfection Version
Boney M started off as a one off studio group headed by music impresario Frank Farian born as Franz Reuther July 18, 1941 in Kim, Germany. He lost his father in World War II and turned to the radio to stations that played hits from the United States and the United Kingdom during his adolescence in the 50's. When he reached the age of majority, the 1960's were rocking and rolling musically and politically. He opted to explore the soul in him and released a few upbeat singles then concentrated on soulful ballads like "Dana, My Love" a German #1 in 1969, then had a hit in 1975 with "Rocky". Soon he was in the studio perfecting his own version of the German based eurodisco sound. Because Germany lacked a tight horn section, the only other choice to maintain the orchestral grandeur of the song was to use strings. There were excellent classical string musicians who worked nights for bands like Boney M and Silver Convention songs so the horn parts became the string parts, resulting in the luxurious strangely played but hypnotic strings that define the German disco sound. Donna Summer's first two albums had the same sound quality since they were both recorded in Germany. Frank comes up with "Baby, Do You Wanna Bump" based on the 4/4 measured beat and does it all the vocals by himself but credited the music track to Boney M. Once that hit song hit, the label Ariola America commissioned a full album that led to his engaging a full time group so Maizie Williams, Marcia Barrett, Bobby Farrell and Liz Mitchell became the classic line up who recorded "Daddy Cool". The song charted at #11 disco in the winter of 1976, spending 13 weeks on that survey and set the scene for the follow up "Ma Baker" that peaked at #31 disco. It entered the Hot100 at #87, the same week Hall & Oates released the future #1 "Rich Girl". "Daddy Cool" peaked at #65 and stayed there for three weeks before dropping completely off the chart. Farian was very savvy and was concerned that the visuals of the singers had to be as exciting as the music tracks they were singing to. The ladies can all be heard along with Farian, leaving Bobby Farrell to be the sexy macho jock frontman whose main job was to balance out the group's visual dynamics and he ate up the scenery! I already knew that Frank Farian did the male vocals on all the Boney M songs, so when he admitted Farrell's voice never made it to wax I got confirmation. Bobby did help out on background vocals a couple of times, but never sang lead on the songs of Boney M. Farian is the man who brought us Milli Vanilli, and he applied the same principle of great visuals and great sounds not from the same source. He hires two hot black men for the pictures and hires professional musicians and vocalists to give that image a brilliant irresistible sheen. When that fell apart, I kept my copy of Milli Vanilli "All Or Nothing" and still have it.

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Stevie Wonder ~ Higher Ground 1974 Funky Purrfection Version
Someone just asked for this one, and I remembered that I had the stems and got busy! I had already done a remix for soundcloud years ago, but I only had access to the vinyl LP. I went looking for the remix and realized I go one better by using the music tracks. "Higher Ground" was conceived, written and then recorded in a matter of hours. It started out as a shuffle blues with Stevie playing an ARP and a Moog synthesizer, and then finished the bass before he recorded the drums. In the studio, Stevie was surrounded by keyboards so he could move between them. Once "Innervisions" was in the can and was released, Stevie was in a car taking him to a concert in Durham, South Carolina when the vehicle rear ended a flat bed truck. Wonder was left with a cracked skull and a bruised brain that left him in a coma for five days. Doctors were not sure if Stevie would awake from the coma, but his road crew thought that he could hear so they played his music when they visited. His manager had tried to communicate with Wonder several times with to no avail. He finally got a response when Stevie started squeezing his hand in time to the song "Higher Ground" was sung into his ear. That is when he knew that Stevie was going to be all right. The song peaked at #1 R&B for a week and hit #4 on the Hot100.

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Fleetwood Mac ~ Gold Dust Woman 1977 Extended Meow Mix
"Gold Dust Woman" was an album track from "Rumours" that saw limited release on single the B side of "You Make Loving Fun". The song is eerily suspenseful with its sparse drum and cowbell intro that builds as each member adds their part of painting the dark picture that Stevie had envisioned. It was about the groupie type of female who insinuates herself and begins to "stare daggers at the women in the band, but are all smiles as the men approach". Drugs were also referenced as a crutch to get through a bad relationship. She used her experiences to write it such as her cocaine use to help her get through "the whole rock and roll life" which was "so much work" and "every day was intense". "Being in Fleetwood Mac was like being in the Army. You have to be there and you have to be there as on time as you can be there. And even if there nothing you have to do, you have to be there." She relates that she had never felt so tired in her whole life as while she was using, a habit she overcame in 1986. "I was definitely swept away about how big Fleetwood Mac was and how famous I suddenly was. Me, who couldn't buy anything before, could go in any store and buy anything I wanted. And I wondered what that would do to me on down the line. I might be a ruler, but maybe I'd be lousy lover." "Everybody was doing a little bit. you know, we never bought it or anything, it was just around and I think I had a real serious flash of what this stuff could be, of what it could do to you. The whole thing about how we love the ritual of it, the little bottle, the diamond-studded spoons, the fabulous velvet bags. For me, it fit right into the candles and incense and all that stuff. And I really imagined that it could overtake everything, never thinking in a million years it would overtake me. I must have met a few people who I thought did too much coke, and I must have been impressed by that. Because I made it into a whole story." Stevie also praised Courtney Love's band Hole's version by saying "I thought it was great. It's a little raucous for me, but she's so very true to my song." WRIF out of Detroit, MI played the hell out of this one, an elegant, moody, moors and fog rock and roll song about a rock and roll woman. "Rumours" was everywhere that summer, and it defined it. The creative juices were flowing throughout the period fraught with tension but it paid off and became Fleetwood Mac's most perfect effort to date. This song and "The Chain" defined the album for me even though I loved You Make Loving Fun and Dreams too. There was so much to choose from when putting together the album, "Silver Springs", a crisply produced tour de force did not make it onto the album, but eventually saw release as the B Side of "Go Your Own Way" has become an FM staple on classic rock stations.

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Eric Clapton ~ Lay Down Sally 1977 Pop Purrfection Version
RSO Records had an historic run for the most weeks spent at #1 with singles from the Saturday Night Fever soundtrack and Grease. You should know that they also had an investment in the rock arena when they signed Eric Clapton to the label. He was born Eric Patrick Clapton on March 30, 1945 in Ripley, England the son of a bricklayer, Edward Fryer and Patricia Clapton. Due to the young age of Patricia who was 16, her mother Rose took Eric in and raised him as her own, and told Eric that Patricia was his sister. He received his first guitar at the age of 13, but found it difficult to play so he set it aside until he was 15. He picked it up and never stopped playing after that. He fell in love with the blues and learned all he could. He attended art school, but his focus on music led him to be dismissed from the school. By the age of 16, he was being noticed for his guitar prowess. He joined the Yardbirds and inherited the nickname "Slowhand" from his refusal to leave the stage to re-string his broken guitar strings while the audience watched and "clapped slowly" until he was ready to rejoin the band. Throughout the 60's he established his blues based guitar playing and became a virtuoso, impossible to miss for his participation in John Mayall & The Bluesbreakers, Blind Faith and Cream. He also created Derek & The Dominos which established him as a star in his own right with the blistering rock classic "Layla". Clapton brought Bob Marley's reggae music to the masses when he released his reggae infused version of "I Shot The Sheriff" his first #1 pop hit with Yvonne Elliman on background vocals in 1974. His fifth solo release was "Slowhand" which contained the singles "Cocaine", "Wonderful Tonight" and "Lay Down Sally" a country blues song where he used his "low key but earthy" voice and the heavenly sound of Marcella Detroit (born Marcy Levy) on backgrounds. The song took off and reached #3 on the Hot100 and #26 on the Hot Country Chart.

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Lalo Schifrin ~ Theme From "Rollercoaster" 1977 Disco Purrfection Version
Lalo Schifrin was born June 21, 1932 in Buenos Aires to a musical family. His father Luis led the second violin section of the Teatro Colon, Argentina's most respected opera house. At the age of 6 he began to study piano which he completed at the age of 9. He first studied sociology and law at the University of Buenos Aires, but then music captured his attention and he switched studies to attend classes at the Conservartoire de Paris. He played jazz in Paris night clubs and ended up representing Argentina at the International Jazz Festival. He emigrated to the US in 1963 and became a citizen in 1969. He began to compose music for TV, creating the iconic theme to "Mission Impossible" and scoring numerous other shows and movies. He also provided incidental music for "The Exorcist" that was not well received by the studio because it was apparently too scary for audiences. His next big project was the soundtrack of the 1977 thriller "Rollercoaster" that combined the widescreen views of being on the rollercoaster along with Sensurround that provided a startling approximation of the experience by having a bassy track enhance the feel of the rumble you felt on a rollercoaster. It was used in other films like "Tora Tora Tora" and "Earthquake" where the explosions and earthquake effects made you feel like you were in it. It was pretty real, many people actually panicked during "Earthquake" because that rumble felt like the real thing. The song never charted but was fun with that wah wah guitar and the energetic flute solo playing over those solid beats. The movie was pretty good for it's time.

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Doobie Brothers ~ Listen To The Music 1972 Disco Purrfection Version
The story of the Doobie Brothers begins when that of 60's group Moby Grape ends. Moby Grape was the first group where all five members were lead vocalists and songwriters who successfully merged folk, jazz, rock, country, blues and psychedelia. The Grape had broken up and were attempting a reunion in 1969 when drummer John Hartman met Skip Spence, the Grape's guitarist. He put him in touch with Tom Johnston and the two began jamming together. The following year, Patrick Simmons and Dave Shogren joined and they adopted the name Doobie Brothers, and performed live shows in California for the likes of Hells Angels and built up a strong reputation. The energy they displayed got them signed to Warner Brothers music in 1971, and they released their eponymously titled debut LP to little reaction as the record did not accurately reflect the band's performances. During the sessions for the second LP, "Toulouse Street" Shogren was released as bassist and Tiran Porter anointed by the bands new producer Ted Templeman. His direction and production style brought the band their first real pop hit the #11 single "Listen To The Music" and the Doobies were on their way. Johnston wrote and sang lead on the song which he describes as "a call for world peace". Frank Mastropolo reported that Tom felt that "The chord structure of it made me think of something positive, so the lyrics that came out of that were based on this utopian idea that if the leaders of the world got together on some grassy hill somewhere and either smoked enough dope or just sat down and just listened to the music and forgot about all this other bullshit, the world would be a much better place. It was very utopian and very unrealistic (laughs). It seemed like a good idea at the time." Tom, it is still a good idea, thank you for a classic party forget about your troubles song that now is 7 minutes of Doobie Brothers heaven! Detroit rock radio was playing the hell out of "Rockin' Down The Highway" at time. Still gives me goosebumps!

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The Trammps ~ Disco Inferno 1976 Disco Purrfection Version
Happy New Year! I wish you the very best in 2021. What better way to celebrate than to remix "Disco Inferno" for your New Year's Eve parties. Instead of waiting until midnight, I figured that putting it out there today would be a better idea. This is probably the most iconic disco song ever, you know what is coming right from the very start. It spent five weeks at #1 disco and found a second life when it was included on the greatest disco album of all time, "Saturday Night Fever". It has also been inducted into the Dance Music Hall of Fame. "The Towering Inferno" was a 1974 Irwin Allen disaster flick that evoked powerful imagery and the metaphor was incorporated into the song. "The funk was flaming" lyrics were a very accurate description of the song and the movie is now forever tied together with it to me. Released as a single on December 28, 1976, it peaked at #53 on the Hot100, but the reissue due to "Saturday Night Fever" it re-enterd the chart and it peaked at #11 in the spring of 1978. This is the best way to close of 2020 which was a dumpster fire, but the fire generated by the "Disco Inferno" is going to keep you warm for a very long time....

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Sylvia ~ Pillow Talk 1973 Soul Purrfection Version
If Sylvia Robinson had had her way, it would have been Al Green on the vocals of "Pillow Talk". She wrote the song with him in mind, but I guess it was a little too overtly sexy for him and he turned it down. Undaunted she recorded the song herself and the sexy sighs "ay ya ya" she breathed beat Donna Summer to the punch by two years. She was born May 29, 1935 as Sylvia Vanderpool in Harlem, New York. She always loved to sing and dropped out of high school at the age of 14 to begin recording music for Columbia Records in 1950 as Little Sylvia. Four years later she met Mickey Baker and they named themselves Mickey & Sylvia. In 1956 the duo recorded "Love Is Strange" which crossed the color lines becoming a #1 R&B and a #11 Hot100 hit. They broke up the band in 1959, unable to come up with a suitable follow up song. She went solo, but soon realized that as a cduo, they could record again and they did some background vocal work for Ike & Tina Turner. She married Joseph Robinson Jr that same year, and they stayed together until his death in 2000. Baker became disillusioned with the business and moved to Paris, effectively ending the new relationship in 1964. She went ahead and opened All Platinum Records writing, producing and performing on most of the songs. The Moments, Whatnauts, Retta Young and Shirley & Company all benefitted from her expertise. In 1973 she turned her attentions to herself with "Pillow Talk" that connected with just about everyone everywhere at it peaked at #1 R&B for two weeks and #3 on the Hot100. I believe the Al Green story, if you listen to the music track, the drums sound like Al Green's style. It became All Platinum's most successful single ever and the first single released on the new Vibration label. The Shirley & Company "Shame Shame Shame" single followed in 1975 and that opened even more doors. She opened Sugarhill Records and released the stone cold classic "Rappers Delight" in 1979 that changed the course of popular music towards hip hop. Longtime label act The Moments have a footnote. A trio of them; Al Goodman, Harry Ray and Billy Brown quit All Platinum and signed with Polydor records,. Sylvia asserted her legal right to the name The Moments and they were not the Moments anymore. So they chose Ray, Goodman & Brown. No matter, with a single as strong as "Special Lady" and the veteran vocals of Ray, Goodman & Brown it secured the #1 R&B and a #5 Hot100 hit in early 1980. She passed away on September 29, 2011 from congestive heart failure. I remember her from Mickey & Sylvia back in 1956 with "Love Is Strange", the song used for the now iconic scene in Dirty Dancing. Ya gotta hand it to woman who had her own successful recording career and guided a raft of other bands on All Platinum/Vibration labels and set the scene for American popular and R&B music for years to come. Don'tcha love the way she is stylin'?

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Bee Gees ~ Night Fever The 1977 Monster Mix
Last summer my computer died. I really freaked out because I could not afford to replace it. I make no money at all of this channel as the copyright owners are the one who get it all. Someone suggested I try Go Fund Me and in three days I had enough donations to get a new computer and pay for the retrieval of files. I can't thank them enough for helping me out and now I am back in the swing of things here. This is my way to thank them, as promised the name of each and every donor will be seen. You all made me so very happy and lifted me up when things were really crappy. I hope I can return the favor. Here is the one hour version of Bee Gees "Night Fever" I have been teasing. 85% of the respondents to my poll said "DO IT" and the day has finally come to give it to you. 2020 has not been the kindest year I've ever known, so much anger, hate and violence propagated by one particular world leader who is anything but. That regime is on its way out but they are still kicking and screaming about how unfairly they have been treated. What goes around comes around, fool. For the rest of us, we will picking up the pieces and forging on. We have the strength and intelligence to get through this and the humanity to ensure that we look after each other, even though we have differences of opinion. So to kick off the party to the countdown, here is a one hour version of Night Fever using the multitracks. Happy New Year! All the best in 2021.

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Hall & Oates ~ She's Gone 1976 Soul Purrfection Version
"She's Gone" was originally recorded by Hall & Oates for their 1973 LP "Abandoned Luncheonette" and released as a single that same year and it topped out at #60 on the Hot100. Dennis Lambert and Brian Potter were enamored of the song and presented it to Tavares who recorded their own version that peaked at #1 R&B and #50 on the Hot100. The label felt that their song still had a chance and decided to remix "She's Gone" removing some synth lines and re-released it in 1976 and this time it peaked at #7. Daryl relates that "She's Gone" was easy to write and his talent for vocal arrangements was evident in the finished song. His experience with street corner doo wop on the streets of Philadelphia encouraged him to sing the song in two octaves, where John handled the lower registers and Daryl took the high ones singing separately instead of singing the harmonies together. The contrast between light and dark added a unique touch

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Boz Scaggs ~ Lido Shuffle 1976 Disco Purrfection Version
The first single issued from Boz's now classic "Silk Degrees" was "It's Over", spending three weeks on the Hot100 and peaking at a disappointing #38. Then came "Lowdown" in the late summer of 76, a downtempo R&B tune that seemed to encapsulate the general mood after the huge celebrations for the American Bicentennial and it got all the way to #3 and spent 15 weeks on the chart. "Georgia" was the last single issued and did not chart at all. The fourth single was issued in the spring of 1977, a joyous romp called "Lido Shuffle" that spent 12 weeks on the chart and peaked at #11. It was written by Boz along with David Paich as a shuffle and was inspired by Fats Domino's "The Fat Man". Boz says that song "had a kind of driving shuffle beat that I used to play on the piano, and I just started kind of singing along with it. Then I showed it to David Paich and he helped me fill it out. It ended up being "Lido Shuffle"." David Hungate played bass, Jeff Porcaro was on drums and David Paich did keyboards including those anthemic synthesizers that blasted the song into the stratosphere. Those three were session players who ended up forming Toto with a few other additions.

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Chic ~ Le Freak 1978 Disco Purrfection Version
"Le Freak" was written after a huge disappointment the pair experienced after being denied entry to Studio 54 to see Grace Jones perform. That fateful night was New Year's Eve 1977 and the duo had been invited by Grace to see her show and then meet to discuss a recording collaboration. The guys embodied the Chic fashion mystique, dressed themselves to the nines for the occasion, only to be shot down. Apparently, Grace had neglected to put them on the list. The doorman's surliness only added to their misery, but they hung out until 1AM hoping Grace would notice the oversight, who never did. They dejectedly left, picking up a bottle of champagne and walked over to Nile's apartment to salve their egos. Starting to jam with bass and guitar, they began working some serious music therapy along with some rather rude exhortations that perfectly expressed their disappointment. The first part of the song that came together was Bernard's guitar and then Niles wrote a bass part to compliment that. The chorus came next along with the spontaneous "F" words to help them blow off steam. A demo was made and the boys knew they were on their way. A change of lyric of "F*ck Off" to "Freak Off" advanced the song one more level and then they blew it into the stratosphere when they changed Off to Out after they found out there was an actual Freak dance out there (remember the Freaky Deaky?). A final name change to "Le Freak" gave it international appeal miles away from the snarl of a song it started out as. I for one would love to hear the demo, Nile Rodgers could hopefully dig it out someday. At the time, Le Freak spent 5 weeks at #1 pop and R&B, a true crossover juggernaut that became the biggest non Christmas single ever, Warner Bros. biggest single ever and the third most copyrighted song in history after "White Christmas" at #1 and "Rudolph The Red Nosed Reindeer" at #2. It is the #8 disco song of all time according to the Billboard "Hot Dance/Disco" reference book. What am I doing remixing a stone cold classic? I thought maybe some DJ's would enjoy a integrated version to play off, and I wanted you to hear the mastery of the original's music and vocal tracks in breaks. 40 years later, this one still kicks butt inciting a stampede to the dance floor. Thank God for Chic, they really did save us from a life of drudgery by giving us the finest disco music ever created and a chance to unburden our cares on the dance floor.

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Fleetwood Mac ~ You Make Loving Fun 1977 Extended Meow Mix
There is nothing about "Rumours" that I don't like. It's an amazing compilation and combination of talents with perfect balance on the ins and outs of love, laid emotionally bare. 1977... slowly I turn, step by step...I got my paws on the tracks and listened to each track on its own. This is real band playing, together, tight and outta sight! Christine shines with her performance of "You Make Loving Fun" to me a reminder of really good times being 17. Finishing junior year and getting ready to be seniors who graduate in 1978. My second job at McDonalds, the then new Fairlane Town Center in Dearborn, MI. And the Bob-Lo southern style paddleboats that took partiers to Bob Lo Island Amusement Park. "Rumours" was playing every where, I had an 8 track tape of it that never left the player all spring and summer. I was so glad to find the multi tracks to this one, a special entry and requests for more music from 1977.

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