Jan 23, 2020

Side Hustle

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This got started because I have been listening to a lot of what I like to call post Imperial Period Prince. I’ve picked up several of the late albums that the estate has issued for the first time on vinyl. They sound incredible, and I’ve decided that we may have been a little hasty in our dismissal of everything post Diamonds and Pearls. I was really dumbfounded by the full-on disco in “Chelsea Rodgers” (from the admittedly minor Planet Earth.) It got me thinking that so many artists used disco as a side hustle…and thus this ipodsode was born.

Lewis Furey is the Lou Reed of Canada. I’m not sure his albums were even released in the USA, and this disco take on “Top Ten Sexes” didn’t even make an album. Martha Velez was a Nuyorican singer songwriter/cabaret crooner who was on Sire before it was a hip label. Her records are largely ignored, even though the late, great Bob Marley produced Escape from Babylon which gave us this (thin) slice of reggae disco. I just recently found the disco mix of Blondie’s “Live It Up;” it’s on the b-side of the vinyl 12" of “Rapture” and, I think, nowhere else. Never thought of the Alan Parsons Projects as disco jockeys, but there was a 12" (remix?) of “Damned if I Do.” Works for me here. And as of this moment, I’ve decided Billie Jo Spears owns “I Will Survive,” if for no other reason than she makes us hear it fresh, and the instrumental breakdown at the end is fierce if too short.

Lastly, Lydia. No idea whatsoever who she is. I think this is all she ever did, making it an only hustle. What I can tell you is that it’s from the soundtrack album of 1980’s great entry into porn-chic, Caligula. And that was a side hustle for everyone involved.

Hold on to Your Mind – Andwella ’70 ﮚ Top Ten Sexes – Lewis Furey ’76 ﮚ  Disco Night – Martha Velez ’76 ﮚ Watermelon Man – East Harlem Bus Stop ’76 ﮚ Old School Joint – Missy Elliott ’01 ﮚ Life, Love and Harmony – Nancy Wilson ’79 ﮚ Tonight – Paul Anka ’77 ﮚ Chelsea Rodgers – Prince ’07 ﮚ Aspectacle – Can ’79 ﮚ Live It Up (Disco Mix) – Blondie ’79 ﮚ Movin’ on a Disco Planet – Ganymed ’78 ﮚ Disco Clone – Cristina and Kevin Klein ’78 ﮚ Come on and Dance with Me – Swamp Dogg ’79 ﮚ Damned if I Do – the Alan Parsons Project ’79 ﮚ Never Can Say Goodbye/Doctor’s Orders—Cy Coleman ’76 ﮚ I Will Survive – Billie Jo Spears ’79 ﮚ We Are One – Lydia ’80

 

Dec 3, 2019

OK Boomers

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Disco zombies don’t die; they roam the world’s dancefloors looking for brainsnacks. Lana Del Rey kicks off a cover of Sublime with a harp riff played by the Carpenters go-to harpist Gayle Levant. And why not? As we lumber into the 2020s, everything is grist for the mill. And speaking of lumbering, do yourself a favor and look up Fat White Family’s video for their grimy-aggro-disco-lite epic “Feet,” mayhaps my favorite track from the end of this decade. I also love the Dolly Parton cool of Mark ’n’ Miley’s sweet Nothing which has its own end-of-the-world cool video, complete with skeevy O.J. Simpson refs. Too soon? Never. Just ask Lizzo; she knows to blame it on the Juice. Chaka Khan goes into diabetic coma while St. Vincent can’t figure out speed. Kylie reminds Madonna that there was more “Music” to mine while the coolest mom-jeans Queen of them all Tracey Thorn namechecks your father’s disco and doesn’t seem the least bit boomer doin’ it. (Besides, disco is Me Decade.) LCD Soundsystem remembers how to Chic even if Chic doesn’t. Waylon’s kid Shooter warps Giorgio Moroder in the craziest ways on his bizarre GM cover album Countach. (Highly recommended.) ABC freezes time long enough for me to run into the Purple Vault and pull out a Hollyrock that proves Sheila E and Prince were the same person all along. (I suspected as much.) And our zombies, bellies full, wander off to the corn belt to find some Arthur Russell songs to gnaw on.  

Viva Love – ABC ’16 ﷺ  Dancefloor – Tracey Thorn ’17 ﷺ  Nothing Breaks Like a Heart – Mark Ronson featuring Miley Cyrus ’18 ﷺ  Feet – Fat White Family ’19 ﷺ  Like Sugar – Chaka Khan ’19 ﷺ  Fast Slow Disco – St. Vincent ’18 ﷺ I Dance My Dance – Chic ’18 ﷺ  Juice – Lizzo ’19 ﷺ Raining Glitter – Kylie Minogue ’18 ﷺ  Chase/Love Kills – Shooter Jennings ’16 ﷺ  Tell You (Today) – Robyn ’14 ﷺ  Hollyrock – Prince ’19 ﷺ  Tonight/Home/I Want Your Love – LCD Soundsystem ’19 ﷺ  Green Light – Lorde ’17 ﷺ  Who Am I to Feel So Free? – Anohni ’11 ﷺ  Wild Combination – Scissor Sisters ’14 ﷺ  Doin’ Time – Lana Del Rey ’19

Oct 29, 2019

Dance * A * Spell

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A lot of recycling here—some of it even very recent—but I’ve been wanting to do this forever, and so now I have it o-u-t of my s-y-s-t-e-m.

B I Bikki – Malcolm McLaren ’85 ﻬ Respect – Aretha Franklin ’94 ﻬ C Is for Cookie – Cookie Monster and the Girls ’78 ﻬ L.O.V.E. – Demis Roussos ’78 ﻬ I.O.U. – Freeez ’83 ﻬ M.T.A. – Mike Curb Congregation ’77 ﻬ Gloria – Santa Esmeralda ’77 ﻬ D.I.S.C.O. – Ottawan ’80 ﻬ Y.M.C.A. – Village People ’78 ﻬ Saturday Night – Arpeggio ’79 ﻬ Hello, Rio! – Ottawan ’80 ﻬ H.A.P.P.Y. Radio – Edwin Starr ’79 ﻬ A.P.B. – Toulous ’78 ﻬ Alphabet – Amanda Lear ’77

Oct 4, 2019

Featherweight

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How much production can you do without and still have disco? Must you have a beat, even? Here we have disco light as a feather inspired by Carli Bruni’s 2017 rethink of the Stones’ “Miss You,” delivered as a samba whisper that may be funkier than Mick & Co. Persia is also a find; it came from the final days of disco at Casablanca and seems to have been so slender as to have made nary an impression. “Comme Ci, Comme Ca” is choice, nevertheless. The Strutt contribution is an instrumental version that becomes soufflé fluffy with the vocals removed. (Reminds me of Young-Holt Limited’s “Soulful Strut.”) Demi Roussos’ “L.O.V.E.” is lighter because this is the pared-back album version, not the full-on disco single. El Coco’s “Afrodesia,” however is the extended ’82 Collectables which feels lighter to me than the more concentrated ’78 Dancing in Paradise version. And then there’s Chic who slow things way down for “At Last…” and pare things way down for “I Love…” with Johnny Mathis; as light as a track can be and still be disco, I think.

 

Keep on Making Me High – Unyque ’79; Symphonic Soul – Henry Mancini ’75; By the Time I Get to Phoenix – the Vast Majority ’76; Afrodesia – El Coco ’82; Let Me Be Your Fantasy – Love Symphony Orchestra ’78; Georgia – Panama ’78; Boogie Oogie Oogie – the New Fifty Guitars ’78; Another Star – California Smoker ’78; L.O.V.E. Got a Hold on Me – Demis Roussos ’78; That Ain’t No Way to Treat a Lady – Gonzalez ’79; Comme Ci, Comme Ca – Persia ’79; I Love My Lady – Johnny Mathis ’80; Miss You – Carla Bruni ’17; Said You Didn’t Love Him — Strutt ’75; Soul Je T’Aime – Sylvia ’75; At Last I Am Free – Chic ’78

Sep 7, 2019

Take What You Find

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And what we find for this ipod-sode is an all-over-the-map mix. “Real” disco doesn’t kick in until track 5; up until then we have a womyn’s music funk act (on Olivia Records, no less), some truly oddball Aussies (in a track that just sends me, off-kilter vocals and all) and some stompin’ funk from tiny L.A.–based Greedy Records. And who knew British juggernaut Fleetwood Mac dropped a tasty disco track on us on the eve of signing on Lindsey and Stevie, thereby blowing up the band forever after? Saint & Stephanie kick off our first disco proper with “Last Train to the Boogie,” a track that punches both my train-song button and my hard-swing button; transportation (planes, trains, UFOs) becomes a theme with Germany’s Harry Tumann and Spain’s Zoom, the Philip Bailey–produced Splendor and the less-than-subtle Hot Bush. But they aren’t half as unsubtle as Badazz whose b-side (“Hot Box”) to their only a-side (“Honk, Honk, Beep, Beep,” look for it soon) is not afraid to go there. The cover to that 12-inch provides the episode’s art: For 1978, it’s way ahead of its game, foretelling the arrival of Prince-like punk/funk tag typography and even St. Vincent’s recent Masseduction. Shâdee (Hasan)’s lone album I Just Need More Money came out on Tamla and featured Stevie Wonder. It’s a great lost record, in the vein of the country/funk/disco sound Stevie mined— and, in my opinion, abandoned too quickly—on “I Ain’t Gonna Stand for It.” We close with the opposite of the opening, a bit of what I like to call “male-gaze” feminism, in which Michele White stands secure enough in her femininity to give her man permission to screw around as much as he’d like. It comes from the folks at Miami’s Sunshine Sound factory.

 

I Gotta Make Something of My Life—Be Be K’Roche ’76 ɸ Aural Risk—Asphixiation ’80 ɸ Crazy Dancin’—The Bottom Line ’76 ɸ Keep On Going—Fleetwood Mac ’73 ɸ Last Train to the Boogie—Saint & Stephanie ’79 ɸ Take Me to Your Disco—Splendor ’79 ɸ Time of the Seasons (sic)—Neil Cloud Orchestra ’79 ɸ American Express—Harry Thumann ’79 ɸ Take What You Find—Helen Reddy ’80 ɸ  The Letter—Zoom ’78 ɸ Because the Night—Mighty Pope ’79 ɸ I Just Need More Money—Shâdee ’79 ɸ Flight 69—Hot Bush ’80 ɸ Hot Stuff—Novella Edmonds ’79 ɸ Hot Box—Badazz ’78 ɸ As Long as You Come Home—Michele White ’78

Jul 25, 2019

Fits for a Queen

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Anything that begins with pig and ends with horsemeat can’t be good for you right? This is the disco drag show of my imagination; a whole lotta Miss Thangs werkin’ it for you. The Amanda Lear is the legendary 10-minute Canadian version of her signature song. I brought it home as one of many treasures from a recent foray to Toronto which may well be the used disco shopping capital of the universe, but don’t tell anyone. For years I have been bemused by Queen of Telemundo Charytin; it never occurred to me she might have recorded passable disco. Brava! Bonnie Tyler beat Bette Midler to “Married Men,” although anyone can tell you Bette’s is better. I’m just saving her for bigger, better things later. The extended disco mix of Canadian Patsy Gallant’s “Sugar Daddy” is a complete pleasure, as is Viola Wills’ run through a patch of inclement disco. But nothing tops Mama Harper (a/k/a Vicki Lawrence) and her big disco number helmed by no less than Al Capps. She had a huge, huge hit with “The Night Lights Went out in Georgia” and then completely disappeared from the pop charts. Sure, being second banana on the Carol Burnett Show kept her busy, but still. “Don’t Stop the Music” is a very rare record, but not as rare as Gong Show Queen Jay P. Morgan’s rip through “I Fall in Love Every Day” which first surfaced as a vanity pressing. The big number from Dream Girls works surprisingly well as a gargantuan dancefloor anthem (and you and you and you… you’re gonna LOVE ME! Hey, don’t wear yourself out, lady.) We’ve cleared the way for the reigning queen of the French disco scene, Her Majesty Régine. This ain’t no Gloria Gaynor, but that wobbly syndrum-synth hook that creeps up in the last half is quite effective.

 Stereau Warmup—Miss Piggy ’82; La Cage Aux Folles—La Jeté ’83; Follow Me—Amanda Lear ’79; Para Hacer Bein el Amor—Charytin ’79; Married Men—Bonnie Tyler ’78; I Just Don’t Know What to Do with Myself—Cheri Lewis ’82; Sugar Daddy—Patsy Gallant ’76; Don’t Stop the Music—Vicki Lawrence ’79; Stormy Weather—Viola Wills; I Fall in Love Every Day—Jaye P. Morgan ’76; Big Noise from Winnetka—Bette Midler ’79; I Need a Man—Grace Jones ’77; And I'm Telling You I’m Not Going—Koffie ’83; Je Survivrai—Régine; Dusty Blue—Dusty Springfield Meets Horsemeat Disco

 

Jul 1, 2019

Super

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The podcast feels obligated to celebrate our throwback ’70s icon du jour, Elton Hercules John. Reg Dwight was no stranger to disco. His Thom Bell sessions make for some very palatable Philly soul, and his flat-out reviled disco album Victim of Love was not so bad as it was extremely late to the party. Neither even comes close to the wackiness of French crackpot Paul Vincent’s “Super Elton,” which doesn’t offer a single writing credit to EJ or BT. You could get away with that crap back then. There seems to be nothing to be known about our next piece of French toast, Les Filles de Sebastien. (I assume Seb’s the Gallic basso profundo mumbler.) Had Serge Gainsbourg worked with Silver Convention, it might have sounded something like this. Facebook lit up a few months back with a Eurovision-Song-Contest-on-acid You Tube performance of “Space Rescue” (“Rescate Espacial”) by the Spanish band Zoom (a/k/a Ballet Zoom). I had to work some serious magic to get an original of this. It was worth it. I think of it as “Calling Occupants (of Interplanetary Craft)” of the Ibiza set. Things get back to super again with “Moving Like a Super Star.” I had only known this by the UK’s Jackie Robinson. Choreographer Amadeo’s version is delightfully more flamboyant. I believe there’s a nine minute version of it out there I need to hunt down. Cellophane is a one-off studio creation by Latin producer Titti Sotto. “Super Queen” sounds as if it was cobbled together from left over tape snippets from the studio floor; I find it really revolutionary for 1978; of course it was mixed by Walter Gibbons. I have no sense that queens ever adopted it. Pity. Max Berlin’s (who always goes by the possessive for some reason) is a Cerrone acolyte. “Boogie in the Bush” strikes me as some kind of lost percussive workout classic.

Part two kicks off with “It’s All Over Now, Baby Blue,” a nugget buried on the back side of one of 10,000 disco versions of “I’m a Man.” Rowley is a UK folk singer, and I can’t think of another disco version of Dlyan. (Probably not trying hard enough.) I quite like this; it would pair nicely with Grace Jone’s “La Vie En Rose.” Calhoon came out on Phil Spector’s vanity label, although I don’t think Phil had anything to do with it. This is the super-rare 12-inch version. My copy is in a hand-decorated sleeve. Trini Lopez’s muscular “Helplessly” is better than it has any right to be. Finally, the rare “Spirit of Sunshine” is one of the rarer Tom Moulton mixes out there. It would pair well with that other disco sunshine classics, “Sun… Sun… Sun…” Happy summer!

Super Elton—Paul Vincent ’77 | Sexy Sally—Les Filles de Sebastien ’77 | Rescate Espacial—Zoom ’78 | Moving Like a Super Star—Amadeo ’77 | Super Queen—Cellophane ’78 | Boogie in the Bush—Max Berlin’s ’79 | It’s All Over Now, Baby Blue—Mick Rowley ’78 | Magic Carpet Ride—Diva Gray & Oyster ’79 | Dance, Dance, Dance—Calhoon ’75 | A Little Bit of Jazz—The Nick Straker Band ’80 | Il Me Faut Une Femme—Boule Noire ’79 | Megatron Woman—Native Love ’83 | Helplessly—Trini Lopez ’78 | Hey Taxi Driver—Chantal Curtis ’79 | Spirit of Sunshine—Chuck Davis Orchestra ’77

Apr 6, 2019

Now That You’ve Got It, What Are You Going To Do With It?

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I’m not a big fan of remixes, especially ones that render the original virtually unrecognizable. That said, “Can You Handle It” is the rare remix that transforms a ho-hum album cut into something spectacular, right up to and including Sharon Redd holding a strong high note for 23 seconds (perhaps via manipulation). Right after, Johnny Mathis says, “Hold my beer” and sustains his top note for a dizzying 28 seconds (no manipulation here, by golly) in the Chic-produced “Fall in Love (I Want To).”

The opening track started as a backing track for a lefty radio deejay who did political raps. This instrumental version caught on. (You can see some crazy dancing to it on youtube.) I stuck the rap version on the end of the podcast because I think it has some historical interest. Skip Mahonney holds disco god status for his “other record,” that being his first solo single “Janice (Don’t Be So Blind to Love),” an all-time great 12-inch single that goes for wicked money if you can find an OG pressing. It’s follow up—an Elton John cover—goes for fifty cents.

I have a million theme ideas for podcasts, and one of them that may see the light is Disco Spelling Bee. Should I ever, you know Ottawan (of D-I-S-C-O fame) will lead the pack as they never met a cut where they couldn’t spell out the catchphrase, like in “Hello, Rio.” Add to it Arpeggio’s completely unexpected cover of the Bay City Roller’s “Saturday Night,” an all-time great spell-it-out song. Funny thing about this is I have owned the album that houses this track forever, and I don’t think I ever played this track or at least paid attention tp it. Perhaps because the one that precedes it—“You Killed the Magic”—knocks me out do hard, I rarely get beyond it.

Finally, “American Dream.” This is from, as far as I can tell, a test-pressing for a single that never was released. It dates to the Calling All Beatniks sessions, but it isn’t on that album, nor is it anything like those. It’s warm and funky where CAB was sour, tinny and just no fun. The lyrics could not be more apropos for today, either. Disco “Yiddishe Mamme” makes me think of ABBA—you know how they had their whole international-flavor era. As odd as it sounds on paper, I think it’s a really swell disco track. ABBA-esque as well is the Harmony Cats’ charming difficulty with English lyrics. “Singing and Dreaming” isn’t disco, but I think it makes a nice cool-down. And the crazy-quilt of tunes in this medley is delightful. It has the spirit of d-i-s-c-o and that's what c-o-u-n-t-s.

I Ran Iran - David Lampell ’79 ^ I Ran - Trade Martin  & Chip Taylor ’82 ^ Benny and the Jets - Skip Mahonney ’89 ^ Why Can’t We Live Together? - Illusion ’82 6 Can You Handle It? - Sharon Redd ’80 ^ Fall in Love (I Want To) - Johnny Mathis ’82 ^ Casanova - Easy Going ’80 ^ Hello Rio - Ottawan ’80 ^ My Yiddishe Mamme - Top Stars ’77 ^ Road to Mandalay - Harlow ’83 ^ American Dream - Dr. Buzzard’s Original Savannah Band ’84 ^ Saturday Night - Arpeggio ’80 ^ Le Petit Train - Les Rita Mitsouka ’88 ^ Call Me - Family Affair ’76 ^ Cantando y Soñando - Harmony Cats ’78 ^ I Ran Iran (Rap) - David Lampell ’79

Mar 24, 2019

Red Neck Yacht Rock

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The jumping off point for this is Kacey Musgrave’s “High Horse.” My Nashville music critic buddy Edd Hurt rightfully points out that Kacey is not country. Nor is Horse exactly disco. It isn’t “pushy” enough. What it does remind me of is that strain of late ’70s/early ’80s easy listening that crossed what we now call yacht rock with country. It’s best summed up by kickoff “Islands in the Stream” which was written, produced and warbled on by Barry Gibb. I know people out there who would argue that Islands is the best produced record of the last millennium. Lord knows that Dolly’s performance is stellar as she surfs the waves of lead/harmony singing like no other.

The whole genre of yacht rock may have gotten its start with the Bellamy Brothers, and “Let Your Love Flow” is one of those records I fall for anew every time I hear it. Am I perverse to couple these with “Tight Fittin’ Jeans,” one of the greasiest/sleaziest records ever. Way to go, Conway!

Kacey seems to be riding a wave of neo disco country that got started about five years ago. While Thomas Rhett wallows in a fair amount of MAGA party rock, “Make Me Wanna” is undeniable, and he gains extra points for showing up on Brett Eldredge’s “owed” to Robin-Thicke-macho-bluster, “You Can’t Stop Me.” Which brings us to Miley. God love her! “4x4” is among my favorite records of the last decade. Miley could do worse than grow up to be the next Scooter Lee. The queen of boot-scoot is never anything less than slick, and at her best I think she sometimes even betters the originals. Her one outright disco album is a bit of a letdown because she backs off the twang. Still “Nightlife” from it is a gas. And there’s twang-a-plenty from the late great Tony Joe White’s lost disco nugget “We’ll Live on Love” and “Local Hoedown,” jockey short Steve Cauthen’s attempt to cash in on the disco craze.

I’ve got some discograss on here. (Are the boys from Hayseed Dixie my first podcast cut w/o percussion? I’m too lazy to confirm.) There’s a crazy country one-off from Family Affair, a disco vehicle for Petula Clark comrade Tony Hatch who wrote “Country Music” if not country music. (This record is outta England which is why it sounds a little more like pub rock that the real thing, however I do find that it sticks in your ear.) The last thing represented here is that gone-in-the-blink-of-an-eye minigenre of new wave country dance that brought us a spiffy reboot on the cut that started it all, “Stone Fox Chase,” as well as nutty one-hit wonders such as Kon Kan and not-even-one-hit-wonders Rubber Rodeo, who prove that the power of “Jolene” can withstand a wall of Edgy guitar work, some kick drum and a discordant take on the melody. Such macho posturing. Cause after all that will make—huh!—a man out of you.

Islands in the Stream - Kenny Rogers & Dolly Parton ’83 )( Tight Fittin’ Jeans - Conway Twitty ’81 )( Let Your Love Flow - Bellamy Brothers ’75 )( Make Me Wanna - Thomas Rhett ’13 )( Stone Fox Chase - Icarus ’86 )( I Beg Your Pardon - Kon Kan ’89 )( I Never Promised You a Rose Garden - Scooter Lee ’98 )( Jolene - Rubber Rodeo ’82 )( 4x4 - Miley Cyrus ’13 )( High Horse - Kacey Musgraves ’18 )( We’ll Live on Love - Tony Joe White ’78 )( You Can’t Stop Me - Brett Eldredge ’15 )( I Love the Night Life - Scooter Lee ’96 )( Local Hoedown - Steve Cauthen ’77 )( Cotton-Eyed Joe - Isaac Payton Sweat ’80 )( I Don’t Feel Like Dancin’ - Hayseed Dixie ’07 )( Dizzy - Scooter Lee ’98 )( Country Music - Family Affair ’77 )( Honey Bee - Celia Yancey ’76 )( Slow and Steady - Harlow ’83

Feb 20, 2019

Disco Disses

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Who took the magic? You did! You did!! I started this episode some time ago and then other things came up that were of more interest. When I got around to finishing it, I couldn’t identify four of the artists! And, in a somewhat unprecedented move for me, I had already re-shelved the records. Of course these were all deep album cuts, so search engines were only so much help. I had a hell of a time re-identifying Teri DeSrio (a dsco newbie), Lorraine Johnson (that album cover is a fooler; Lorraine looks nothing like the woman pictured on the cover), Scherrie and Susaye (the last Supremes left standing), and Foxy (in a cut that is not at all typical of their style).

 Odyssey is another artist in my growing list of those who just don’t get enough love. I don’t think they made a dent in America after “Native New Yorker” (which many people just assumed was Dr. Buzzard anyway). Fact is few other artists in the disco era put out such consistent albums and (non)hits. I didn’t know that Hall & Oates released a 12-inch version of “I Can’t Go for That.” It hardly seems remixed, only longer, which is not bad thing. Also longer—and to my ears sonically enhanced—is the 12-inch of Joe Tex’s “Ain’t Gonna Bump.” With its blatant fat shaming, that record likely couldn’t get made today. (Well, it could, but I don’t think it would be a hit.) On the flip side, “Be Cool (Cissy’s Packin’ Razors,” a guy realizes that the woman he’s dancing with is, in fact, a man—and quite a butch one at that—which ends up garnering Joe’s respect and making this record in toto, I believe, the epochal “no fats, no femmes” disco manifesto.

I had no idea that Alice Cooper attempted disco, and you might well argue that he didn’t. You can hardly discern his vocals from the background singers on “(No More) Love at Your Convenience,” and while the song is mid-70s lush, it lacks a certain dance floor-oomph. It was produced by Bob Ezrin who did bring disco fire to Kiss.

 Our set closes with “serious” musician Adrian Munsey teaming with Sparks to provide a little disco dis to disco lovers themselves, punning off of a title by Chic. If Munsey were even one-one hundredth as good as prime Chic, we might have actually heard of him.

 And hats off to Telex for giving me my new stock answer to everything: “I was raised by snakes.”

 

Don’t Tell Me, Tell Her—Odyssey ’80 ﻞ Bad Risk—Sydney Joe Qualls ’78 ﻞ Baby, I Don’t Want Your Love—Teri DeSario ’78 ﻞ Who Do You Think You’re Fooling?—Lorraine Johnson ’78 ﻞ Sorry… Wrong Lover—Lenore O’Malley ’81 ﻞ I Can’t Go for That—Hall & Oates ’81 ﻞ Raised By Snakes—Telex ’84 ﻞ Ain’t Gonna Bump No More—Joe Tex ’77 ﻞ Dancin’ Daddy—Peggy March ’79 ﻞ Pussyfooter—Jackie Robinson ’77 ﻞ Your Lies—Vicki Lawrence ’79 ﻞ I Found Another Love—Scherrie and Susaye ’79 ﻞ Not Tonight—Macho ’80 ﻞ (No More) Love at Your Convenience—Alice Cooper ’77 ﻞ You Killed the Magic—Arpeggio ’80; Baby, I’m Leaving—Foxy ’76 ﻞ You Don’t Know a Good Thing—Michael Zager Band ’78 ﻞ Mr. Big Shot—The Simon Orchestra ’79 ﻞ  To Hell with Him—Taka Boom ’82 ﻞ No, No, No My Friend—Free Style ’77 ﻞ Dirty Ol’ Man—Three Degrees ’78 ﻞ C’est Sheep—Adrian Munsey ’79

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