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7 Jazz












The 52nd Mega Record & CD Fair November 16 & 17, 2019 Jaarbeurs Utrecht The Netherlands

pre sale | dealers list | plan of the fair etc.



Welcome to the seventh edition of Hot Stuff magazine! In this issue some great additions by Aiden d’Araujo, Skeme Richards (The Nostalgia King), Jason Armitage (Dr.J), Stuart Baker, Wildstyle Guy and myself. For those who don’t know me yet, I have already collected many disco-related items, such as magazines, books, acetates and, of course, records! Like me, there are many other music lovers who have interesting stories to tell, know about the music’s history and have certain memorabilia. That’s why I thought it would be nice to share the disco, rap and funk knowledge we all have, so in this way we can share all of this info with the rest of the world. In my digging for records and acetates I have met many other interesting music lovers, which is why I have asked them to contribute to this magazine by writing articles. This magazine includes a wide range of interesting articles on disco, jazz, rap, hip-hop, funk, house, rollerdisco and the graffiti & breakdancing culture. Furthermore, you will find vintage advertisements and magazine articles mainly from the 1970’s to the 1990’s. I invite you to share your opinions, ideas and relevant news with me. Your correspondence will be appreciated and it will help me improve my publication the next time. All contributors and I hope to reach everybody and anybody who loves the music that makes you want to dance. Enjoy! Groetjes, Discopatrick





Design - Layout & Cover Illustration

SuuZ Discopatrick

Contributing Writers

Stuart Baker Aiden d’ Araujo Skeme Richards Jason Armitage (Dr. J) Discopatrick Wildstyle Guy Patrick Vogt Marc Janssen

© Discopatrick 2019


5 TRAVELS AROUND THE USA New Orleans Funk and buying records in New Orleans by Stuart Baker


24 FALLING LIKE DOMINO’S by Wildstyle Guy

42 Vintage Interview DISCO BEAT BRUNI PAGAN




8 kUNG fU diggin’ by Skeme Richards (The Nostalgia King)


40 Vintage Interview DISCO BEAT FRANCE JOLIE


58 cover art breakdance

HOUSE Travels HUNTING around PRESENTS… the USA: New Orleans Funk#6and buying CHAPTER records in New Orleans Black Ivory-Leroy Burgess by STUART BAKER AIDEN D’ ARAUJO SOUL JAZZ RECORDS The first time I went to New Orleans was around 30 years ago. Pre-internet, pre-mobile phones, pre-sat nav, pre-discogs, pre-ebay, but also even pre-CD and pre-fax machine (if you can remember these). I had just begun selling records with a friend of mine and we had started travelling to the USA to buy records, both for ourselves and for our record shop (more of a record stall) in Camden, North London. There were two ways to find out where record shops in located in the USA at this time. One was a small book that had just come out called ‘record dealers in the USA.’ It was only ever printed once and I don’t know how we got a copy but this was our initial guide to each city. Then, on arriving in a town, you had to look in the yellow pages under ‘second-hand records’. There is a different yellow pages for each city and every public telephone would have one. It often took a while to write out all the shops on a scrap of paper – I remember going to a phone box somewhere to find just the ‘record shop’ section torn out of the book. You had to be fast in those days – there was always a Japanese team or a Northern Soul dealer that had been in town a few days earlier. You also need a USA-wide road map and then often an individual one for a town also. In fact, buying records in the USA was a popular pursuit and you would quite often see dealers from the UK, Japan or Europe in the shop you were in – everyone smiling politely while surreptitiously trying to see what each other was buying. To this day I remember standing in Dr Wax in Hyde Park in South Chicago next to a Japanese guy who had just picked out an original copy of Pucho and The Latin Soul Brothers’ Jungle Fire album on Prestige when it was a HOT record. Hard to watch! Also listed in the yellow pages were record wholesalers although most of these closed down a few years later. One wholesaler we found in the


mid-west had multiple copies of the complete Black Jazz catalogue which we then sold in our shop for £7 each. There was also Ruby Sales, an old guy in Chicago, who sold wholesale records under the slogan ‘we’re going out for business’ on adverts which he designed to look like ‘we’re going out of business’. Smart guy! First time we visited Ruby Sales we uhm-ed and ahh- ed about buying a box of 100 of Dennis Coffey’s Scorpio on 45 at $0.25 cents each. Anyway the first time we arrived in New Orleans it was a little hard to navigate. I had an impression of New Orleans as a ‘24-hour party town’ where music was everywhere. We walked down Bourbon Street, the main music area, and boy was it a dump! Very cheesy, bad jazz music been played to overly loud tourists. Bleuch! The only interesting music I remember hearing was a busking brass band of kids on the street playing Herbie Hancock’s Chameleon. (Pretty sure they became The Dirty Dozen Brass Band). In the central French Quarter there were just a few record stores selling the odd Meters’ album for very inflated prices. I’m sure I saw Rejuvenation for $250 the first time I went. Or maybe it was $50 which just seemed like $250 at the time. It was not until we got out of the French Quarter that anything became more affordable. Jim Russell’s Record Store on Magazine Street had a proud sign outside the shop saying words to the effect of ‘Voted top 10 Record Stores in the USA’. Sounds promising? Well the first time we visited this store was a little bit of a cultural shock. The first thing to notice was the bank of old TVs along one wall and that this store was VERY BIG. The second thing that seemed unusual was that a family were sitting at the front of the store while their kids were playing video games hooked up to one of these TVs. And there were no customers. The next thing was that they only seemed to have 45s – a lot! Strange as this may


sound, we were not really that interested in the 45s – that all had a starting price of $5 and I think were also unpriced (usually implying someone would look up the price in a guide book when you came to pay). There was also a special table of 45s that were all labelled ‘local product’ which although I didn’t realise at the time was to play an important in my life and in the future of Soul Jazz Records. The special table was there to service the interests of collectors who came to New Orleans each year at Mardi Gras. The whole shop seemed daunting – for some reason we were always in a hurry to get to another store or city so it all seemed a bit of a headache. We headed for the ‘album room’ to the side, which was also jam-packed. Unfortunately, the racks were jammed full of stock that had clearly been there many years because it was too expensive! We left empty-handed.

Pzazz Records. It wasn’t but it was pretty good and I knew enough to hang on to them for quite a few years after until people knew the value of it. This first occurred when DJ Shadow put it on one of his Brain Freeze albums. In 2007 one sold for £2000 on ebay. I bought a pile of records from the table – pretty much anything I didn’t know that I could afford and chatted with Jim Russell. Anyway I don’t know how the conversation went but I think I must have picked up a Gaturs release Gatur Bait (with the distinctive green label) and Jim mentioned that he was sure he had more copies somewhere. So I ended up spending two days there and was given free reign to look anywhere in the shop. I found a box full – maybe 30 copies - of Inell Young’s What Do You See in Her (on Libra Records) and the same of The Next Ball Game (on Big 9, written by Eddie Bo and with James Black on drums I believe). I had never heard of them before and they weren’t generally known but they sounded good on the shop record player – Still I think I left a few not knowing if they would sell! But it was on the second day standing in a cupboard under the stairs that I came across the best find. The cupboard was full of boxes of 100 copies of 45s. Most were (unsurprisingly) uninteresting but there was one 100-box of The Gaturs’ Gator Bait and one 100-box of The Explosions – Hip Drop (like the Inell Young singles this was also produced by Eddie Bo). To buy one box worked out at $500 a box (no discount here!). So although 45s take up very little room you can see how the cost of buying them escalates quite quickly. I only had a few grand which gave me around 500 singles in total after two days in the store.

My guess is I didn’t return for a number of years. When I did I was on holiday and knew I had a couple of days to kill. Jim Russell’s ‘local product’ table had played on my mind and I decided to check it out again. I can’t remember exactly what was there but everything was small independent label stuff that I did not know. I think they had a record deck but I had worked out that you are not going to go wrong with any Toussaint/Sehorn production (of which there were many), similarly anything related to Eddie Bo, and this time $5 didn’t seem too bad. I bought six copies of a record called Hang Up by Salt. I think I thought it might be a version of Hang Up by The Warm Excursions, a good funk record on


Fast forward at least five years and I was returning to New Orleans once more. I was now running a record label (rather than only a shop) and had long been thinking about a compilation that brought together a number of the tunes I found fiver years earlier in New Orleans, mixed in with some established rare groove club tracks (like David Batiste and The Gladiator’s Funky Soul and Chuck Carbo and The Soul Finders’ Can I Be Your Squeeze, another fine Eddie Bo production). It might seem odd now but at the time New Orleans Funk wasn’t really well known – people mainly associated New Orleans with earlier rhythm and blues and carnival tunes. The album was very successful and by this time we had


tracked down (among others) Marshall Sehorn (Allen Toussaint’s business partner for all his productions) and Eddie Bo and had established a working relationship with both. I wanted to interview both of them in person for a second release so we headed off to New Orleans once more.

bels and in 1966 had a BIG hit on his hands with Aaron Neville’s Tell It Like It Is. Unfortunately, the 45’s success caused a terrible cash flow between paying for pressings upfront and then shops paying the distributor later and the hole thing crashed bringing down literally 100s of labels. The only New Orleans industry to survive in the 1970s was Toussaint and Sehorn’s Seasaint Studios with in-house band The Meters and engineer Matassa. Matassa now ran a supermarket (as an aside so did the Jamaican producer Joe Gibbs also had a supermarket where I met him there in Kingston one time. Errol T, (legendary engineer Errol Thompson) was an employer of Joe’s and he was there also). Anyways … I interviewed Matassa above his grocery store for an hour or so and it was great.

Marshall Sehorn met us at the airport. He was about 60, maybe more, I think and was a white southern guy who knew black music inside out. He and Allen Toussaint had remained business partners for many years and in the late 60s were running the New Orleans music scene with a myriad of independent locals, that recorded New Orleans talent – Lee Dorsey, Betty Harris (who actually flew in from Florida), The Meters and others. Sehorn was lively but carried around a pace maker, a stress-related consequence of a lawsuit with MCA Records. Still he seemed happy to meet us and to try and do more business with us (despite what we saw as the small size of our own operation) and we met him one morning in an old style grand New Orleans restaurant over eggs florentine with his lawyer friend Phillips Packard to discuss future possibilities. Marshall mentioned that he knew Cosimo Matassa and would I like to meet him? Yes I would. Matassa had engineered, ooh about 5,000 New Orleans tracks from Fats Domino and Little Richards from the 19540s onwards up until the collapse of the New Orleans music industry in the late 1960s. Matassa was part of the collapse - he had started an umbrella distribution company called White Cliffs to distribute independent New Orleans la-


Sehorn also brought us to his ‘office’ (a strange building that looked kind of temporary, and I believe there was an assistant or secretary there also) to sign an agreement with the saxophonist Ernie Vincent. Vincent had made a record The Dapp by Ernie and The Top Notes. I don’t really know why Marshal Sehorn was so helpful – he was pretty much retired and I think he just liked being around doing deals (however small they may have been). We also met Eddie Bo and his sister Veronica. Bo had become a carpenter and was rebuilding his studio. Partly for this reason, and also the fact that he liked nature a lot, he suggested we meet in a park. I still have the cassette tape of the interview and you can hear ducks in the background). Eddie invited us to see him play that night at Tipitina’s but it was solo piano which seemed a bit out of place as Tipitina’s is a bit of a club venue. Finally, at the end of trip I made a visit to Jim Russell’s Record Store. It was now being run by Jim’s son and proudly on display at the front of the shop now was our New Orleans Funk album – which was a pretty nice feeling! (Marshall Sehorn died in 2006, Eddie Bo died in 2009 and Jim Russell’s Record Store closed around 2016). Interested in buying a sampler with this music, visit Soul Jazz records:


Louie Vega presents Leroy Burgess & Universal Robot Band feat. Patrick Adams Barely Breaking Even For BBE Music’s landmark 500th release, the label joins forces with Louie Vega, Leroy Burgess and Patrick Adams to revisit ‘Barely Breaking Even’, the iconic track after which the label is named. Coaxed into the studio together by BBE founder Peter Adarkwah, Grammy winning House music hero Louie Vega, arranger extraordinaire and New York disco royalty Patrick Adams, plus the song’s original writer (and king of boogie) Leroy Burgess soon got to work. Even given the caliber of those involved in this special session, the results are simply exceptional. Featuring live strings by The Apple Hill String Quartet arranged by Adams and Burgess, Vega’s ‘Boogie Mix’ stays faithful to the Universal Robot Band original, with potent vocal performances and a tough new groove for 2019. It was at the string recording session for the boogie version that Louie Vega unveiled his ‘NYC House Mix’ to the assembled musicians, at which point he and Leroy Burgess quickly arranged a brand new horn section and re-wrote the song’s melody to compliment the track’s accelerated pace. What the team emerged with is so much more than a remix- it’s a unified call-back to two golden eras; that of disco-boogie and that of New York House. And it’s beautiful. - words by Will Sumsuch (5 Mag) Tracklist: DISC 1 SIDE A 1. Barely Breaking Even (Louie Vega Boogie Mix) SIDE B 1. Barely Breaking Even (Louie Vega NYC House Remix (Instrumental)) DISC 2 SIDE C 1. Barely Breaking Even (Louie Vega NYC House Remix) SIDE D 1. Barely Breaking Even (Louie Vega Boogie Mix (Instrumental))

Kung Fu Diggin’ with SKEME RICHARDS (THE NOSTALGIA KING) Records and film have gone hand in hand for 50+ years with many movies and television shows using Library records as their go to source for music that sets the tone or mood in particular scenes. Growing up in the 1970’s, most of the TV shows that I would watch were centered around Sci-Fi, detective dramas or spy and secret agents, all which had funky and quirky soundtracks that completed the picture to whatever was happening on the screen. Shows like Space 1999, The Avengers, Department S, Streets of San Francisco, The Rookies, Mannix and more would stay in constant viewing on late night television. Many of the shows that I would watch, sourced their background music from industry composers and


session players who would record Library records for houses including KPM, Bruton and Music De Wolfe to name a few of the many that existed. Most people who are familiar with Library records know the importance that they have played not only in film but also during the 1990’s within in Hip Hop culture, record collecting and of course sampling. But as the 1970’s rolled along and the popularity of Marital Arts and Kung Fu films began to take over urban theater markets and Grind houses like New York’s 42nd Street Times Square area, these sounds would be introduce to a different audience. Those same films that introduced us to Eastern culture via the likes of 5 Fingers of

Death (1972) which was the film that started the Kung Fu craze in the Western world, 36th Chambers of Shaolin (1978), Five Deadly Venoms (1978) and countless others which filled theaters until the early 1980’s also had an ear for that sound, thousands of miles away. Unbeknownst to many, those films would also license music from these popular publishing houses to fill their backdrops with suspense, action and dramatic fillers. The most famous Martial Arts film company was Hong Kong’s Shaw Brothers, founded by Run Run Shaw in 1958. Shaw Brothers showcased very high

ten times the same composers on different films including Jack Trombey (Shaolin Mantis), Frank Rothman (Spearman of Death), Pierre Avray (Shaolin Handlock) and Reg Tilsley (Dirty Ho).

production values in their films and television programs, which explains why they went for the best in the business when it came to their musical cues. With all of the Library houses to choose from, Shaw Brothers dug deep into the Music De Wolfe catalog for their primary source utilizing of-

musical backdrop. But Kung Fu films wouldn’t be the same without some sort of music direction and funk & soul from America served that purpose (unlicensed of course). One of the biggest names to find their way into these low budget chop socky films (as coined by the American trade

But while the big budget films of the Shaw Brothers were licensing sounds from these Library records, the smaller budget production companies in Hong Kong and Taiwan took their cues from another genre of grindhouse style films, Blaxploitation. With smaller filming budgets, corners had to be cut and the first thing to go would be the


magazine, Variety) was none other than the Black Moses himself, Isaac Hayes. A few of the most popular titles from his catalog that were used in multiple films were “Theme From Shaft” (Shaft), “The Insurance Company” and “Pursuit of The Pimpmobile”, both from Truck Turner. Other notable names that found their way into association with these films are J.J. Johnson “Go Chase Cleo” (Cleopatra Jones) Lalo Schifrin’s compositions from Dirty Harry, which starred Clint Eastwood and of course “Up Against The Wall” from Quincy Jones Lost Man OST, which DJ Premier made popular for the sample used on the Gang Starr track, “Speak


Ya Clout”. But out of all of the usage of Library and Blaxploitation soundtracks used in Kung Fu films, the oddest of them all has to be the theme from the Sci-fi TV show, Battlestar Galactic that was composed by John Williams and The Boston Pops Orchestra. The theme was used during the Kung Fu film, Blooded Treasury Fight (1979) but regardless how many times I’ve seen the film, it will always fit best with the original way of me hearing it. With more exploration comes more finds and those finds are what keeps us digging deep and unearthing gems, so never stop digging. There’s always something new to discover in this wonderful world of record collecting.

DJ friendly



Freddy Fresh interview by Jason armitage (dr.j)

Jason Armitage (Dr.J) is the founder of the Roots Forward Records label in Canada. The label ran successfully from 2011 - 2019 and put out rare and unreleased 80’s and 90’s rap music on vinyl and cassette. The label’s discography included music from legends Marley Marl, Schoolly D, Krown Rulers and countless others. Jason is an avid collector of funk, disco, and house music and has been deejaying actively since 1991. He also hosts the “Expansions” radio show - one of Canada’s longest running programs devoted to classic rap and funk music. Jason recently caught up with the legendary Freddy Fresh to discuss his journey as a DJ/Producer/Author.

Jason Armitage: What was the launching point for your love of rap music? Freddy Fresh: Well, I had a lot of friends in the twin cities that were into r&b and soul, like Cameo and things like that. I ended up really digging that stuff and there was a specialty radio show that was on a public air station that played some electro music. I would say the real big song that blew me away was Planet Rock. It just blew me away com-


pletely, and at that point I just went backwards and tried to find out everything I’d missed. And then I went to New York (to the Bronx) in ‘84 and I ended up driving my car there like 50 different times from 1984 to 1996. I ended up working at a record store in 1985 in the Bronx for the summer and just got paid in vinyl. I got free vinyl for working there and that was it, no looking back at that point! Jason Armitage: Looking back are there any records from your

early days of getting rap vinyl that you wish you would have picked up three or four copies of at the time? Freddy Fresh: Well, I wish I would have gotten more Just Four “Games of Life”. It’s not that valuable but it’s hard to get. A great record, one of my favourites. I wish I would have gotten the Soul Wax stuff on the Harlem labels. I had to go through a little, you know, hemming and hawing to get copies of those. I mean, I’ve been fortunate that I’ve been able to get almost every rap record that I’ve ever wanted in my whole life. I never got the Equidity Funk or the Be-Bop Convention, or any of that, but I wasn’t really after those either. Those were more collectors grail pieces that I really didn’t care about. My biggest regret I have is not taking pictures when I hung out with Lenny Roberts (of Ultimate Breaks & Beats fame). I did take pictures of S.O.S DJ Specialty Store on the outside with a couple of employees (that’s in my book), but Lenny Roberts was a huge influence to me and I never took any pictures with him. It really sucks because there’s not really pictures of him around. Jason Armitage: During that era how much was a 12 inch single? Freddy Fresh: $2.98 to $4. I remember buying “King Cut” by DJ Cheese, you know, Word of Mouth. I HAD to buy

that record. I learned the lesson the hard way that a lot of records I would want were scarce records, so it’s not like I could just buy them later, there were only a few floating around. That’s when I started realizing I needed to get a game plan together, and that’s when I started putting master lists together of the label’s catalogs. That’s how my book (The Rap Records) came about years later. This is before Discogs was around, you know, so I would call record labels up and say “how can I find out what’s going to be coming up later”? They would send printouts of what was going to happen so I wouldn’t miss the (upcoming) releases. This would have been ‘85,’86, ‘87. Jason Armitage: Discuss some early DJ/production experiences Freddy Fresh: I started doing master mixes in 1986 for Minneapolis radio station KMOJ for a guy named Travitron and he was from Brooklyn. I was using a sampling foot pedal, a guitar pedal that I’m sampling like “Boogie, Boogie, Boogie, Boogie Down Productions...” If you listen to my Mix #7 on A Man And His Music, that was done with that foot sampler. That was like a real good example of how rough and rugged my mixes were cause I had totally inferior equipment. I would DJ through two cassette decks hooked up to do tracking. Normally my mixes would be real hissy, with a lot of treble, because I’d go through so many takes to get


the mix. They were totally prehistoric. I’d have some moments of magic in them, but some bad stuff too, but that is how I got my name around. Jason Armitage: Was there a turning point for you in Minneapolis when people became accepting of the sound and what you were doing? Freddy Fresh: In the 80’s there were nightclubs (in Minneapolis) that were hip to the fact that it was an underground New York cult thing and they would let me do guest nights. So I’d have like, disco clubs.

There was a guy that saw the magic in what I was doing and he would let me guest in his disco. And so I went from these little rec parties and stuff from the black community, to doing the Saturday night prime-time discos. Then we had some rap crews (like the IRM Crew) in ‘85 that were here, and they would come and guest, so I was starting to get more acceptance at that point. Then First Avenue (famed Minneapolis club used by Prince for scenes in Purple Rain) came in like around ‘85 and things busted wide open. But I was never deejaying in big nightclubs as a regular fixture until I got off into my house and techno. That’s when I started really blowing up with my own shit as Freddy Fresh as an artist/DJ. I didn’t make my name on an international level in the hip hop scene, I did it as a breaks DJ (mid/late 90’s). Before that I was getting all over the world doing techno music, because I was producing techno in ‘92. My first appearance on vinyl was with B Boy Records in ‘88, but my first actual Freddy Fresh release by myself was on Nu Groove Records out of New York. It was a scratch and paste thing called B.O.O.M. (Catalogue: NG-109). It’s all Bronx police calls. I used to take my scanner to the Bronx and


record the police calls and then we were putting that on four track and scratching over it and shit. That records insane. I did that with my partner Hidden Rhythm. He was amazing. Jason Armitage: Once you were deep into the electronic scene in the 90’s, were you still collecting rap records? Freddy Fresh: I missed a ton of 90’s stuff, but that’s because in ‘93 I was being invited to play in Europe. When I started to go to Europe I started buying breakbeat records, records by the Freestylers, and stuff that was happening in Europe at the time. I got turned onto the English breaks scene because they were taking hip hop samples and putting modern breaks on them. It was insane. So, ‘93 - ‘99 there was some stuff like Dilated Peoples, Q-Tip and all that stuff that I missed. I had to go back and find all that stuff. I still heard some of it, but I wasn’t in tune with rap the way I was in the 80’s. In the 80’s nothing escaped me, but by ‘92 I was into producing and deejaying more house and electronic stuff. However, I would try to squeeze my favourite electro jams into a techno set. I was influential in loosening up the techno scene to get into the electro scene. I would get people in Germany really pissed off when I would come into these techno parties and play stuff like Man Parrish “Hip Hop Bebop” and they would be like “what the f**ck is he doing?”. They were not feeling it, but once I got a bigger name (as a DJ/ producer) they were more open to it. And then later on I opened up for the Jungle Brothers at a show and brought out some of my hip hop, so everything kind of came full circle for me as a DJ. I started in hip hop, got into electronic music and then I kind of went back into hip hop again. Jason Armitage: Name 3 lesser known rap 12” singles that you love. Freddy Fresh: “Growing Up” by Heartbeat Bro’s (Elite Records/1985) “On A Mission” by Too Nice (Singh Records/1987) “Free Style” by Kool D. Ultimate MC’s (T.A. Sound/1985) “At the end of the day it’s not about who you are, it’s about lives you’ve touched” - Freddy Fresh (Oct.28, 2019).




After the last edition’s label love letter to Arthur Russell’s Sleeping Bag Records we stay in NYC this time havin’ a House Hunting hark back to the boogie legacy of the legendary Leroy Burgess...

Before founding his hit band Black Ivory in the summer of ’67 Leroy Burgess was invited to join his friend Larry’s group The Mellow Souls after hearing Leroy breakin’ into song whilst shootin’ some hoops. However, before the group could really take shape Larry and fellow member Vito Ramirez pulled outta the project. Undeterred, Leroy drafted in Stuart Bascombe and Russell Patterson and Black Ivory was born… At the time Larry’s sister Gail was dating prolific production powerhouse Patrick Adams who heard Leroy’s falsetto’s over the phone and he was hooked. Patrick sorted the group out with talent shows and managed to get them in with Kool And The Gang’s Manager who gave them a support slot for his band. Not content with just being a support act, Black Ivory also released a record after Patrick secured them some studio time down in Philly at the legendary Sigma Sound Studios where they laid down ‘Don’t Turn Around’ and ‘Keep Asking You Questions’. Patrick hit up Perception and he managed to secure a deal with them (later securing an A&R role and even becoming their executive vice-president) so the record was released on the stable and its soul subsidiary Today. After the single they recorded an album’s worth of material back in New York launching their debut LP soon after in ‘72 also titled ‘Don’t Turn Around’. The LP proved an instant hit resulting in the group goin’ on tour and as their success soared an inevitable second album was on the cards. However, whilst they were away Patrick enlisted songwriter David Jordan who both had the next LP ‘Baby, Won’t You Change Your Mind’ mapped out so as contractually obliged the group handed over creative control and lost the initial spark and chemistry which Leroy thrived on in the recording process of their debut LP.


They parted ways with Patrick after the release of their second LP and after a couple of false starts, found a new home on Buddah Records. Though they had more creative freedom and Buddah’s in-house songwriters were more on their wavelength, Leroy was still not satisfied despite releasing a couple more of LP’s – ‘Feel It’ in ’75 and a year later their eponymous effort. Disillusioned with the formulaic formula the group was falling into, when their contract was up for renewal in ’77 Leroy decided this was the catalyst for change so left the group to go solo. His first effort was ‘Weekend’ which was picked up by his former production partner Patrick Adams who used it for his Phreek project and went on to be the subsequent single – this was the precursor to Class Action’s reinterpretation on Sleeping Bag Records. As well as producing for Phreek and Prelude’s Musique, Patrick also hooked up with Russell and Stuart to recreate the magic of the early Black Ivory records on their third LP for Buddah. They needed some tracks so their manager Leonard Adams approached their Black Ivory alumni Leroy who incidentally had a demo of a joint titled ‘Mainline’ he was shopping around. So he agreed to cut it with them and got involved on the background vox and keys with Patrick sorting the strings and horn arrangements so was like the old-school sessions back in the day with the end result being Black Ivory’s biggest chart hit. After the success of ‘Mainline’, Leroy’s next project was collaborating with proto-house pioneer Greg Carmichael with their Convertion concept to compose a song for Sam Weiss’ seminal stable Sam Records. Leroy and his song-writing/ production partners James Calloway and Sonny Davenport (Leroy’s cousin) were already in the studio with Greg to play on one of his producti-


ons and as they finished sooner than they planned Greg let them use the additional studio time. Whilst James and Sonny went out to grab a bite to eat Leroy laid down some keys and composed the chorus and verse what was to become the serious Sam slice ‘Let’s Do It’. Upon returning James and Sonny were floored in what they were hearing so left their bacon cheeseburgers and fries to jam with Leroy. Greg came in halfway through the session and excitedly got on the controls to lay the track down. The final ingredients were James and Sonny laying down the lyrics and Leroy getting on the phone to his sister Renee and friend Dorothy Terrell for the backing vox. A few hours later and the rest of history... The track was a hit so the quintet proposed they record an album for the label but Sam didn’t have the budget and to add further insult to injury turns out they copyrighted the Convertion group name. Undeterred, Greg approached the Cayre brothers at Salsoul who were more than happy to finance the project under their new alias Logg – to this day Leroy still doesn’t know how or why Greg came up with that name! Anyway, the quartet brought in Renee and Dorothy again

plus Fred McFarlane on keys, Sonny DeGraffenreid on guitar, Trevor Gale on drums and another member of Leroy’s musical family his cousin Willis Long on percussion. The supergroup’s first recording was at Soundworks Studios which resulted in a serious session for nine hours straight! Though an exhausting exertion into the early hours the fruits of their labour paid dividend as Salsoul loved ‘I Know You Will’ and got Paradise Garage prophet Larry Levan on the mix. Salsoul released the record two weeks later and was an instant hit so Ken Cayre commissioned them to record an album which after an intense week of recording they managed to finish how’s that for a quick turnover! The LP dropped in ’81 and as well as being a Larry Levan fave it was a hit in Europe resulting in Rams Horn licensing it. Not content with the Convertion and Logg projects, Leroy also hooked up with twin brothers Taharqa Aleem and Tunde Ra Aleem aka The Fantastic Aleems or sometimes more simply Aleem. They started out as the Ghetto Brothers covering Jimi Hendrix tracks who incidentally was their flatmate at the time! In ’79 they launched their

Nia label and brought in Leroy to arrange and play on keys for ‘Hooked On Your Love’. However, Taharqa wasn’t pleased with his vocal delivery so they handed over to Leroy complete Luther Vandross on backing vox legendary… The track received major airplay and encouraged Aleem to enlist Leroy again for another record. Their next record ‘Get Down Friday Nite’ ditched the orchestral flourishes as they opted for a more stripped-back affair with Leroy and Tunde-Ra on keys giving a more synthetic spin and Taharqa on guitar complete with Leroy’s solo vox taking centre stage and a precursor to the sound that Aleem are synonymous for… Next up the collaborated on their electro essential ‘Release Yourself and it’s semi-sequel ‘Get Loose’ which though contains many of the core components of it’s predecessor some may say is superior with it’s more funk-fuelled flow and stop-start syncopation. Another choice collaboration was on ‘Confusion’ which with it’s b-boy styling and slower shift in tempo is definitely one for the breakers.. Away from Aleem he released on some Vanguard vinyl too. This included Greg Carmichael getting the old gang back together again to revive their Convertion project on ‘Sweet Thing’ which though reminiscent of their previous record the swirling synths and electronic undercurrent give it a fresher flow. Additionally a couple of years after his Logg LP for Salsoul, Ken Cayre approached Leroy to see if he’d be up for some projects under his own name. They went for synth score ‘Heartbreaker’ which features Jocelyn Brown on background vox plus Salsoul’s in-house mixmaster Shep Pettibone on the mix. Again all these records showcase Leroy’s full recording repertoire whether it’s being a singer/songwriter, producer, conductor or arranger. Ultimately, he laid down

the foundations of house and garage not to mention being instrumental in bringing a new genre to the fore which we now coin as ‘boogie’.



1. ALEEM - ‘RELEASE YOURSELF’ (NIA) A year after their fruitful collaboration on ‘Get Down Friday Nite’ Aleem approached Leroy again but this time their production process went up a gear as with the emergent electronics they utilized more electro elements for ‘Release Yourself’ which for me is Aleem’s top tune. Blurring the boundaries between boogie, electro, garage and house effortlessly, Leroy’s fierce flow adds another dimension elevating it to a higher plane boss breakin’ biz!

2. BLACK IVORY - ‘MAINLINE’ (BUDDAH) Leroy’s biggest Black Ivory hit with partner in crime Patrick Adams at the controls. A proper anthemic soul stomper saturated with strings and horns that evolves from a disco diamond into a rawer rhythm with the drum break at the 4-min mark taking it into house terrain. A proper prime Paradise Garage platter that matters and should be adorning your record collection!


3. FONDA RAE – ‘OVER LIKE A FAT RAT’ (VANGUARD) In ’82 studio supremo Bob Blank invited Leroy down to his Blank Tapes base so with James and Sonny in tow they cut a few demos including ‘Over Like A Fat Rat’ which Vanguard were feeling and recommended recruiting Fonda Rae (of Wish ‘Touch Me’ fame) for vocal duties complete with Ray “Pinky” Velasquez on the mix. If you had to pick to pick up a joint to capture what boogie is all about this sums it up perfectly boss boogie business!

4. LOGG – ‘(YOU’VE GOT) THAT SOMETHING’ (SALSOUL) For me Logg’s eponymous LP is Leroy at the peak of his production powers with my choice cut being the soaring synths and percussive boogie bliss of ‘(You’ve Got) That Something’. This joint involved all group members on percussion using whatever they could find in the studio including beer bottles and boxes of salt and oats showcasing Leroy’s improv ingenuity!

5. UNIVERSAL ROBOT BAND - ‘BARELY BREAKING EVEN’ (MOONGLOW) During the recording of the Leroy’s legendary Logg LP his production partner Greg Carmichael wasn’t happy with Salsoul so took the master tape of ‘Barely Breaking Even’ which was supposed to feature on the Logg LP and sold it to Moonglow who released it the following year in ’82. This jam is a fierce boogie bomb that was cut in one day after a serious 16-hour session in the studio you can definitely feel the sweat in this session jam-hot joint!



SJR LP/CD 449 Deluxe CD/DOUBLE LP + DOWNLOAD CODE/ limited Edition double LP + Download Code + Bonus 7” Single SOUL JAZZ RECORDS









Christian OMODEO / Art historian, Founder of Le Grand Jeu Susana GÁLLEGO CUESTA / Directress of musée des Beaux-arts de Nancy with Pierre MC MAHON manager of ADN-Art dans Nancy and Maya DERRIEN caurator - trainee

The extraordinary history of art in the streets cannot be told without including music, dance, theater or cinema. Their links with New York’s graffiti or Bansky’s street art are not only tight but also constant and unwavering. Music and body are strongly part of this contemporary tale, which gave birth to hip hop, afrofunk, punk, electro or rock music. The exhibition sheds light on the numerous links that unite urban art and music, with the help of works of art, objects and installations.

Invader, Rubik Thriller 2009 © Private collection Courtesy Galerie Le Feuvre et Rose

64 32

Invader, Rubik Et moi, et moi, 2011 © Courtesy Galerie Le Feuvre et Rose

About 150 works selected among private collections are gathered in the Galerie Poirel: paintings, sculptures, costumes, videos, photos, documents (tickets, posters, leaflets…) and LP covers designed by Futura, Bando, Rammellzee, Doze Green, Shepard Fairey, A-One, Chris Daze Ellis, Florent Schmidt, Invader, Parra, Poch, Banksy, Basquiat, Bill Blast, Dran…

Rammellzee Garbage God “Reaper Grimm”, 1994-2001

Futura “Johnny” Backdrop for The Clash concert. 1982 © Privat collection


ABOVE GROUND Graffiti leaves the underground for the open together with The Clash, Blondie or Malcolm McLaren. Soon after, hip hop brings it to Europe. Futura, Rammellzee, Bill Blast, Daze use music itself as part of their work. Basquiat and K-Rob cooperate to Rammellzee’s Beat Bop. Futura and Fab 5 Freddy sing for Bernard Zekri. The first French graffiti artist, Bando, has more acquaintances with Coltrane and soul music, nonetheless the young generation discovers on French TV Sidney’s “H.I.P.H.O.P.”, the first television show entirely devoted to the new sound in 1984.

Bill Blast “Sky is the limit” © Courtesy Speerstra collection Musée des Beau-Arts de Nancy

34 66

“Thriller” jacket Jacket from Sidney Duteil, host of the popular weekly French Rap television show entitled H.I.P. H.O.P., 1984.

Rammellzee Groninger Museum exhibition poster © Courtesy Pat Vogt Collection

Futura “Untitled” c.a. 1982-1984 © Private collection


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Artwork: Basquiat

Artwork: Blade & Seen

Artwork: Shepard Fairey

Artwork: Doze Green

Artwork: Futura

Artwork: Invader

NEW SOUNDSCAPES The beginning of the 2000s gives way to new sound surroundings. Futura’s Pointman has become the iconic character of Unkle and Mo’Wax label, Rammellzee has made his first appearance on a Japanese stage dressed like one of his Garbage Gods, and break-dance pioneer Doze Green has started to transfer on canvas his own musical world.

THE ART OF COVER Vinyl covers have always been a favorite for artists. When Andy Warhol worked for the Velvet Underground, he opened the door to people like Keith Haring and Kenny Scharf. Hip hop LPs have often been associated with graffiti. But Artists who worked on their own covers, video clips and paintings like Shepard Fairey, Invader, Banksy, Paul Insect and Dran proved how diverse is the sound- surround of urban art during the 2000s.

Artwork: Banksy


Wildstyle movieposter, U.K. 1983 © Courtesy Pat Vogt Collection

Florent Schmidt “Bando” © Courtesy Florent Schmidt

Doug E Fresh concert poster, 1987 Design: Phase 2 / © Courtesy Pat Vogt Collection Malcolm McLaren ad in EVE magazine, 1983 Design: Phase 2 / © Courtesy Pat Vogt Collection

70 38

PORTRAITS, POSTERS & VIDEOCLIPS Two series of musicians portraits show this sound diversity, one by Poch who favours french Post-Punk and New Wave sounds, and the other by photographer Florent Schmidt catching the Parisian musical stage of the late 80s and early 90s in his “Black List”. The exhibition is closing on the fist show of the unique collection of hip hop ephemeras gathered by Pat Vogt (Pat Vogt Collection) and a selection of video clips directed by well-known artists and musicians such as Parra, Boris, 1UP and Veli & Amos.

KAS Product “So young but so cold” © Courtesy Patrice Poch


(Fallin’ Like) Dominoes Wildstyle Guy

This is a story about a search for a song used in a video by a b-boy I am a b-boy. Have been for most of my life and will always be. In my mind, I’m as fresh as day one when I first got introduced to hip hop culture in Belgium around 1989. Of course the older I get the slower and the heavier my dance moves, but beyond breaking and spinning, top rocking and body moving, the culture and the music changed me forever. Can’t remember if the music got me to the dance, or the other way around ? I needed to understand how to do windmills and six-steps as much as I wanted to learn the ultimate breaks and beats. In 2007 Niels Robitzky, better known as Storm, posted on YouTube an early 80’s video of legendary poppers from the LA scene: Unique Dominoes. A time capsule featuring six dancers-

from a long-gone era with style and technique and … wow the music ! Two rare gems I had never heard before, immediately high up on my wish list. My mission, should I choose to accept it… Hell yeah as long as the records don’t selfdestruct in five seconds ! The first track is an incredibly magnetic instrumental while the second one is a boogie-funk wonder with a touch of vocoder. Logically, I first asked Storm, who I knew since the mid-90’s, but unfortunately he had no idea despite his experience. Actually nobody did. No clue. But we all want what we don’t have so I kept asking deejays and crate diggers every now and then. For months. For years. No luck. Mission: impossible. 5 years ago I asked the Discogs community, hoping online contributors could help me with their deep knowledge. A few of them


already knew the video but no one could identify any of the tracks, the overall idea being that these two mysteries might remain unsolved as they were probably unreleased records… Unreleased music ? Again ?! Breakin’ was the first film I saw at the beginning of my hip-hop journey, when I had no information no connection. I would later catch up and find out how this Hollywood movie got inspired by a 1983 documentary called Breakin’ N’ Enterin’ by Topper Carrew about the Radiotron (aka Radio Club) and the West Coast pioneers… including Unique Dominoes ! There is a scene with the Dominoes dancing to a song called “Burn” by Dupont. A funky record that was never officially released ! As far as I know, you can only find this track on a 2008 Japanese bootleg of the movie soundtrack, but the sound is awful (probably ripped from the video). You’d better listen to the original Breaking & Entering EP by The Radio Crew (Ice-T, Egyptian Lover, The Glove and Super AJ) but only 25 copies were

supposedly pressed for the cast, but the Dupont track is nowhere to be found. By the way, I can’t be sure as I don’t know any of them personally, but that’s probably Unique Dominoes performing in the videos for Chaka Khan’s I Feel For You and Gap Band’s Party Train. A couple of years ago, I was in Paris visiting Disneyland with my family when I received THE message. Someone called “theotab” had read my old post on Discogs and wrote those exact words: Been a while since you’ve asked, and could probably care less at this

point, but just came across it. The first tune is “Integration” by Trevor Bastow. Can’t ID the second one. Cheers. Freeze ! Spin on your back and spin on your knees, stand on your hands and then freeze… and I did freeze. I was standing on Main Street surrounded by thousands of screaming visitors but for a moment I was on my own, in outer space, with an extra sensory perception like I’m Neo in the Matrix. I knew, finally I knew. Trevor Barstow. British composer and multi-instrumentalist who past away in 2000. Never heard of him before, but he produced many albums for labels like Programme Music or Bruton Music… in other words: library music ! I knew my KPM and De Wolfe lessons but I had never thought the solution would come from ready-to-use soundscapes, recorded for low-budget television or radio shows. How did such underground library music found its way from London to LA during the 1980’s ? I don’t know. Once you know the reference, the record itself is easy to find. In my humble opinion (but I’m probably not objective anymore) “Integration” is ahead of its time and stands out from Trevor Barstow’s 1979 LP called “Hey Disco !“ released on Programme Music (later repressed

in 1982 for JW Music Library). It’s described as “A very interesting rhythm track, insistent, “”hypnotic”, and slightly mysterious effect, with sparsely interwoven light theme on flutes, abrupt ending “. Couldn’t agree more. Even the cover art is classy with its minimalist “less-is-more” b&w design. And the vinyl sounds great… obviously so much better than the lo-fi Youtube video I used to watch and listen. The fact that “Integration” was part of recent compilations in 2016 and 2018 probably lead the way. Many people knew the record, many people knew the video, it only took one who knew both to connect the dots. Thank

you ”theotab” for being Neo the one, and for sharing your discovery. Through compilations, the

song is now available on steaming platforms and even the Shazam app knows the answer... Will digitalization solve all problems ? I let you be the judge. The second track is a cold case, waiting on a dusty shelf to be reopened by obsessed investigators. Funky Sherlock Holmes with Kangol hats and Cazal glasses convinced that somebody, somewhere, knows something. As for me, I have other fish to fry. Of course I would love to know but I guess at some point one must accept not to know everything, not to own everything. There are other 12’’ Holy Grails to hunt down. One by one… Watch them fall, like dominoes. After all, can I give up for real ? No, I’m too curious. The ghost will come back to haunt me sooner or later. Six ghosts actually, wearing sneakers and satin jackets. Popping to an unknown funky beat that is now part of my story but not part of my collection. So here I go again. Cause I am a collector. Have been for most of my life and will always be. WildstyleGuy (Instagram: wildstyleguy_collection)


Vintage Article Disco beat

France Joli September 1979

Come to me A Star in born It was after midnight on Fire Island when 16 year old France Joli from Montreal stepped onto the stage on the beach at the Pines. Joli was there for a benefit to raise money for a new fire truck for the island, and the massive crowd who payed $20 a head to be part of it all was ready to be entertained. Joli would be making her disco debut in front of a crowd that appreciated their disco, and so she was perhaps a bit nervous. Joli’s album had not been released yet, and the crowd did not know her material. But that didn’t really seem to matter. The more than 5,000 on hand for the event couldn’t stop moving. “I loved the place, I loved the crowd and I loved their reaction,” Joli said of her first live disco concert. Joli performed her new single “Come To Me” for the crowd. Joli is hoping there will be many more concerts like that, even though she says none have been planned yet. Since that concert, the album was released July 15 and it has quickly climbed the charts here. It is ranked second at Traxx. The early success of the record here comes cause of the perceptiveness of Ben Delfino of Progress Records in Highland Heights. When he got copies of the album he distributed them as fast as he could to area discos and radio stations. Delfino was aware that he had a hot product on his hands. In Billboard Magazine, the album jumped from


76 on the charts last week to 39 this week. Joli, who had always wanted to sing disco, had never sang disco before releasing this album. When she was 11, she had quit school with her parents consent to begin a musical career. She sang in small establishments in Montreal, and then two years ago when she was 14 Joli saw her writer-producer Tony Green doing a show for young people near her home. After the concert she went home to teIl her mother that she wanted to work with Green, but she never got together with him. Then at the beginning of the year, when she tried to get into recording she was advised to go see Tony Green. At first, Joli says, Green thought the whole thing was pretty funny because Joli was so young,but he gave her an audition anyway. Five days later, Green had a song for Joli. It was “Come To Me” Joli recorded it on a cassette and the two set their sites on finding a record company. After a short search, Prelude signed Joli, and the album was released in July. The rest is history. Now Joli’s days are filled with interviews, and working in the recording booth, she says. But she doesn’t mind the rigorous summer schedule. “I love my business. I hope I’m going to stay in it forever,” says Joli with a slight French accent. Her little free time is spent with her family at home. Joli spends time in her back yard swimming pool with her younger brother, who is eight-years old. Joli has two brothers and two sisters , but only the eight-year-old brother and


herself still live at home, and even she doesn’t seem to be living there anymore. Joli said her brother is very funny about the whole thing. “There is no jealousy here ,” she says . “ Everybody is very happy for me.” Joli says her little brother runs around her Montreal neighborhood with her new album showing the neighborhood kids exlaiming, “Look, that’s my sister on the cover.” Because of her age, Joli says she spends little time in discos, but she has visited Studio 54 and she heard “Come To Me” when she was there for the first time in a disco. “That was the first time I heard it,” she says. “I couldn’t move. I couldn’t move or talk.” So Joli did not even get a chance to dance to her own song.

Joli credits her success at such a youthful age to her parents. Her mother, who was a teacher quit her job to tutor Joli so she would not lose out on an education while embarking on a music career. For France, she has already realized one of her life ambitions, but she adds that she does not want to limit her singing career to disco. “I’d like to do ballads and punk rock, too” she says. WeIl, if her debut album is any indication of what lies in her future, France will he doing ballads and punk rock soon. And she’ll be doing well.


Vintage Article Disco beat

Bruni Pagan March 1980

Bruni Pagan’s music is what she sees and feels

“When I was born,” Bruni Pagan says, “and the doctor slapped me on my behind, instead of crying, I sang the blues.” Before readers get the impression that this 27 year old native of Puerto Rico is a disco diva cloned from a legion of studio backup vocalists, we had better set the record straight. She’s an experienced singer for all seasons who has sung Latin, jazz, blues and popmusic and has performed live with big bands for over a decade. Bruni feels that she can deliver the sound of the 80’s by fusing her eclectic gifts. A songwriter who co-composed three of the six tracks on her debut album, “Just Bruni”, she translates everyday emotions and experiences into a singular musical style.


Success didn’t come quickly for Bruni considering that she began singing at the age of 8. She spent her week-ends working the New York “chitlin circuit” of ethnic music. During the week she was a hospital employee by day and a Baruch student by night. “I majored in business administration and English, and I really feel that I got some satisfaction from doing so,” she relates. “It really helps me now, but I never gave up the music and in my spare time I continue to write songs.” Pagan is in the studios now working on her second album and she is quite excited about her second effort. “It will be basically dance music and I like that because if there’s one thing I like to do -it’s to dance.’” Elektra records is aiming for a May release.

“Street music is your heaviest music,” Pagan asserts. “When I create music, I try to put out what I see and what I feel, I live in Greenwich Village in New York City and I see an incredible assortment of people there. I get a lot of energy from what I perceive about these people - a variety of vibes.”

With the voice she has (Bruni calls it a gift) it should turn out to be a popular album. After all her first one, “Just Bruni” was a hit and “Fantasy” was popular in Cleveland area discos for quite some time. Now a second cut from the album, “Lovers”, is rising on the charts.

Pagan was born in Rio Piedras, Puerto Rico and was raised in the lower east side of New York City. As a youngster she sang at various school and Latin social functions; as a teenager, she fronted several Latin bands within that community. “But I was always a freak for Billie Holiday, Carmen McRae and Ella Fitzgerald,” she confesses. She said that she switched from Latin to the blues aspect of popular music because she loved it and that is what she wanted to build her act around.

In 1978, Bruni was brought to the attention of Herbie Mann and sang background vocals on his “Superman” album, later touring with him as lead vocalist. Shortly thereafter, she went to Sound Palace Studio to audition as a vocalist on a disco album. Sound Palace owner Janet Rosenblatt and Al “Smiley” Harrison were so impressed by her voice that they decided to cut demos on Bruni rather than the proposed album. “I was leery of them at first,” Bruni recals, “because in all my years of singing rve come across many peo-


ple who have made many offers. But somehow the feeling was right this time, and I always go on what I feel inside.” They didn’t rush. The concept of the music was developed for a full year before Bruni was brought to the attention of Elektra. Rosenblatt and Pagan co-wrote Fantasy and she is particularly proud of her song writing ability. “I like to perform music that I helped to write, it’s quite a good feeling,” she admits. As we mentioned earlier Bruni feels that her voice is a gift and she’s quite happy that disco gave her the chance to use that gift. “Forget what you hear about the decline of disco, it’s still going strong,” she commented. “There are far too many people who enjoy singing it, listening to it and dancing to it - disco is here to stay.” Bruni has a wide range of interests including cooking, roller skating, ballet and her 12 year old son. She stands only 4’101/2” (and don’t forget that one-half inch she reminded Disco Beat) and weighs 105 Ibs with reddish brown long curly hair. “Would you believe that at one time I weighed 185,” she laughed? After she completes her second album she expects to do some touring and hopes that Cleveland will be one of the stops. “I’ve never been there, but I’ve heard some good things from people in the music industry about Cleveland.” There’s not really much that she can say about her second album just yet, but Bruni’s voice bubbles with enthusiasm when she discusses the first. “The songs on “Just Bruni” are just songs about experiences that a lot of people have. Some are about love, some not, some are about good experiences and some bad. But I can relate to all of them, whether or not they have happened to me or to people I’ve encountered,” she said. That self penned “Fantasy” exemplifies Bruni’s knack for riding a powerful rhythm track without falling victim to the beats per-minute formula sound. Before you can say ‘disco’ ,” she moves into ‘You Refuse To see’,” a very strong ballad which showcases the lady’s sensitivity and ease as a serious blues vocalist. Each ‘ tune on the album reflects a different emotional side of Bruni and a different facet of a complex musical heri-



tage. “I have a lot to say and with “Just Bruni,” and now my new album, I can begin to reach all the people with my message of music,” she concluded.



When i started collecting the Disconet remix service records in the eighties, i thought that they were the first remix service. When i was reading an article on the internet were somebody stated that the very first remix service was Disco Queen i was curious and started collecting them.

Rick Gianatos was a Manhattan DJ who wanted to get into studio remixing. He never got a chance from any of the record companies so he started to make his own remixes to show record companies what he could do and show that he had a good dance floor reception. Joel Silver had bought a lathe to cut acetates and met Rick and so Disco Queen records was born. Most of the records issued on Disco Queen records were mixed by Rick Gianatos. The Disco Queen remixes were issued between 1975 and 1978. The number of Disco Queen acetates pressed is a nearly 1000 pieces. There were three label designs (all labels were made on a professional printer):



Joel Silver first ordered 500 of the blue labels. When he ran out of them he created the light blue ones (only 25 to 30 pieces). He had to use spray glue to stick them on to the discs. Joel then re-designed the label (he never liked the first one) and then ordered 500 of those. He never ordered any more, so no more than 1000 pieces were made. The Disco Queen remixes were all edited on tape (using a reel-to-reel with a very good pause button). There were only acetates pressed and only one vinyl copy. The remixes were pressed one at a time, to order, after initially making about 10 pieces to circulate to DJ’s who would immediately want everything he did. On some titles, as many as 150 to 200 acetates were produced and send to DJ’s all over the USA. Disco Queen issued mostly remixes although a few medleys were issued in 1977. The medleys were only songs from one artist. The first one was the First Choice medley. Rick was not interested in medleys, he only wanted


to remix. Because the quality of the acetates was cheap, on a lot of the acetates the lacquer peels off the metal after all those years. Sunshine & Angel Sound were the competition at the time, but they were in the business of making money doing copy work [not original mixing], while Rick & Joel did it as a sort-of hobby so they concentrated on mixing, not $$. They produced the discs on an ‘order one -cut one’ basis. They never had any surplus. Remember, cutting a dub must be done in “real time, so making 10~20 discs could take several hours!! Rick would tell Joel how many he needed for the night [NYC disco/bar hopping] and Joel would cut them. Typically, the price was $10.00 for a disc [unless the dj receiving the disc was ‘important’ - then it was free]. All in all, they made about $7.00 profit per record and split it. Many of the reel-to-reel mixes are 2-track stereo [1/4 track format]. Since Joel knew that they

would be mixed down to mono when cut, he sometimes played games with the left & right channel recordings, knowing it would all mix together smoothly. The first catalog number was the last four numbers of Rick’s telephone number. As a rule, the mixes were numbered but some “direct copies-not remixed” were not. After a while Joel gave up on numbering and just referred to the mixes by their titles.

energy to stay out till 4 in the morning, clubbing so he stopped with making the acetates. The choice of name Disco Queen was Rick’s idea. He named the label after the “Queen of Disco Gloria Gaynor”.

The mixes were timed originally using an inaccurate mechanical timer. If Joel noticed that a time was wrong, he would change it on any later labels. Also a mix could change, because he might have faded out sooner, to stop the groove from going too far into the center, which makes the sound horrible. Or it just wouldn’t fit because he wanted to use a larger groove for a better sound and he had to shorten the time to fit on the disc. The label design came from Joel, he used rub-off lettering that he purchased at a stationary store .There was no such thing as computer graphics back then. If there was, the label would have looked a much better. After Rick left, Joel kept the name as Disco Queen as it was, because of the reputation! CDs and computer editing caused the demise of hustling “dubs” around town. And the cost of “blank acetates” skyrocketed, as did other supplies such as the cutting styli. Also Joel was getting older, and didn’t have the




Rick Gianatos was a DJ in NY’s Limelight Discotheque at 7th Ave. & Sheridan Square. At that time there were regulary held drag shows. Rick used recordings from movie pieces and recorded them on acetate which he could easily use at that night. Drag artist Gary Rogers had a direct hot line to Alfred Newman at 20th. He was in charge of music at 20th going back to the 30’s and had access to all music from Marilyn. So Gary had tapes of unreleased stuff, like Meadow from RIVER OF NO RETURN. Joel Silver put the cassette tapes onto disk for Gary to use in his shows at The Limelight and other places.


The 52th Mega Record &CD Fair NOVEMBER 16 & 17 Utrecht the Netherlands








The 52nd Mega Record & CD Fair November 16 & 17, 2019 Jaarbeurs Utrecht The Netherlands

pre sale | dealers list | plan of the fair etc.


On Saturday, November 16 and Sunday, November 17, 2019, the Mega Record & CD Fair will take place in Jaarbeurs Utrecht. At this fair, which is being held for the 52nd time, music lovers from all over the world come together to buy records, attend book presentations, see live performances and visit exhibitions. This fall, the fair will show an exhibition with photos by jazz/pop photographer Frits van Swoll. There are Meet & Greets with Vengeance, George Baker and Robert Jan Stips. In addition, the Austrian top collector Hans Pokora presents and signs his latest book with rare record covers. Music appears to be a good investment: pop culture expert Ian Shirley (UK) is present at the Rare Record Price Guide 2020 booth stall for valuations of rare records and CDs.

Other activities during the fair On Saturday the Three Imaginary Boys from Utrecht will present their fabulous pop quiz, in which everyone can participate and there are many prizes to be won, including live concert tickets made available by various sponsors. Starting at 3 p.m. • The band The Blue Mask plays live Velvet Underground songs on Saturday • Q and A with Ian Shirley (Rare Record Price Guide) and Music Trails by Mark Stakenburg on stage • Omega Auctions (UK) auctions around 100 unique vinyl records on Saturday from 1 pm • Look for the latest news, timetable, dealer list etc. on

52nd Mega Record & Cd Fair November 2019 Jaarbeurs Utrecht • Where: Jaarbeurs Utrecht, Jaarbeursplein 6, Utrecht • When: Saturday 16th November (9.00 am til 5 pm) and on Sunday 17th November (10.00 am til 5 pm) • What: Look for all information, news, presale, time schedule and additions on: • For more information e-mail to:


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Hot Stuff 7  

Hot Stuff magazine with Disco-Funk-Jazz-Soul-Hip Hop and vintage articles. This magazine includes a wide range of interesting articles on di...

Hot Stuff 7  

Hot Stuff magazine with Disco-Funk-Jazz-Soul-Hip Hop and vintage articles. This magazine includes a wide range of interesting articles on di...