Hot stuff magazine issue 2

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KOJAK GIANT SOUNDS Limited 12-inch vinyl from Mike Burns, Beatconductor & Ebony Cuts out soon.






Welcome to the second edition of the Hot Stuff magazine! The first issue had many positive comments so here is the second issue with more interviews and interesting vintage items. 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, roller disco 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






© Discopatrick 2016



Eddy De Clercq Aiden d’ Araujo Stephen Titmus (RBMA) Skeme Richards Stuart Baker Luis Mario Discopatrick Eddy de Clercq Discopatrick











32 LUIS MARIO - DJ LEGEND OF VINYL interview by Discopatrick

44 VINTAGE INTERVIEW with Tom Moulton

56 VINTAGE Disco Report

SUNSHINE SOUND THE BIRTHPLACE OF THE REMIX Text by Stephen Titmus Pictures by Discopatrick

The untold story behind the unassuming New York office that birthed the remix.

We take remixes for granted nowadays, but back in the ’70’s a small group of DJ’s were creating the form from scratch. Sunshine Sound was its birthplace: The specially extended versions and bootlegs that emerged on this ultra obscure imprint are artifacts that show the evolution of the remix and DJ culture itself. Sunshine Sound was owned by Frank Trimarco, a jobbing New York mastering engineer. He hired a tiny, bathroom sized office on 1650 Broadway, a building that was filled with record labels and industry players. Producers Greg Carmichael and Patrick Adams, Randy Muller from Brass Construction and Midsong International – a label home to Carol Douglas and a young John Travolta – all operated out of the building. Salsoul, arguably the most important disco label of the era, was situated only a few blocks away. The plan was simple: With so many musicians nearby, some were sure to need a mastering engineer.



One of the services Frank offered was acetate pressing. Acetates are heavy, lacquered discs that can be played on a record player. They wear out after a few plays and are typically made as one-offs. Many labels used Frank for this service: after all, back in the mid ’70s, there were few other ways of showcasing a newly recorded song. Frank Trimarco at work in the studio Frank soon found an entirely new type of customer, however: as DJ culture evolved in New York, Sunshine Sound began cutting music for bedroom producers, and his unassuming office became the epicenter of an entirely new and little understood sub-culture. Many know the story of Tom Moulton, who originated the extended disco remix. But Tom wasn’t the only person frustrated by the short length of most dance singles in the’70s. Some, like the ground-breaking hip hop DJ Kool Herc, worked out how to extend records by mixing between two copies. Others began to experiment with home recording set-ups in order to achieve the same result. One of these latter DJs was John Morales, then a teenage disc jockey working out of his father’s New Jersey bar. In 1974 John began experimenting with a cassette recorder to try and elongate Eddie Kendrick’s “Date with the Rain.” As John tells it, “It was a great record but only two minutes and 32 seconds long. I mean, it finished before it played. I always thought, ‘God, I wish I could make this longer.’ How I came about doing I’ll never know, but I got a cassette player and I somehow figured out how to hit the pause button just right so I could start recording something else and I made this five-anda-half minute version. That inspired me to take other short records and try to figure out what I could do.” There was only one problem: the clubs John worked in didn’t have a tape player. A flick through the local New York phone


book led him to Sunshine Sound in Manhattan, where he could get his music pressed to acetate. It’s hard to say if John’s mix of “Date with the Rain” was the first DIY mix pressed to record. However, it’s certainly one of the first examples of a disco DJ making records, instead of merely just playing them. John’s early mixes may have been basic, but in their own small way they were revolutionary. Another early remix pioneer who came through Sunshine Sound was François Kevorkian. François had arrived from France as a wide-eyed and enthusiastic musician searching for a break in The Big Apple. He landed a gig playing drums in Galaxy 21 while DJ Walter Gibbons spun a unique and uncompromising form of percussion-heavy disco. Walter’s mixing talent was off the charts. He could not only blend seamlessly, a remarkable skill considering the basic DJ equipment of the era, but he could also cut between records as well as any of the early hip hop DJs. Gibbons’ calling card was his knack for blen-

Sunshine sound tapebox “Date With The Rain”

ding and cutting drum parts until the music was an abstract, percussive wall of sound. One of Walter’s trademarks was the way he’d loop two copies of the conga break in Rare Earth’s “Happy Song,” a segment little more than 30 seconds long. This kind of mix was incredibly hard to accomplish live, so Francois aimed to imitate the inimitable


by recreating Walter’s mixing style using a reel-to-reel. The results were an amazing raw proto-house track that’s hard to believe was made in the mid ’70’s. Most of the early remixes that came out of Sunshine Sound were simply functional. However, there were a few – like “Happy Song” – that didn’t just extend records but totally re-contextualized them. These were some of the earliest examples of the remix as a creative medium. François K’s mix of Jermaine Jackson’s “Erucu” is just one that showcases a pioneering cut and paste aesthetic. The track was again inspired by a Walter Gibbons trademark mix, but François then added a series of extra breaks and beats to the already heady percussive blend: Love Unlimited Orchestra, Larry Page, People’s Choice, and Ashford & Simpson all can be heard. There’s even a sample of The Trashmen’s novelty hit, “Surfing Bird” at the end. Likewise, many of John Morales’ early mixes display how quickly his tape editing skills were improving. Listen to his take on Dan Hartman’s “Instant Replay,” and you’ll hear his obvious talent at cutting and splicing reel-to-reel tape. Even some of the remixes that used basic techniques achieved remarkable results. Warren Gluck’s mix of “I Will Survive,” pressed at Sunshine Sound in 1978, was made using two turntables and a tape deck. The track doubles up two copies of Gloria

Gaynor’s classic over a looped drum beat, perfectly exhibiting some of the next level DJ skills that were commonplace in the early disco scene. Surfacing three years before Grandmaster Flash’s “Adventures on the Wheels of François Kevorkian at sunshine sound Steel” first showcased turntablism on wax; Gluck’s mix is one of the very first records where the DJ is the star performer. A turning point in the history of Sunshine Sound came when Frank Trimarco made some of the early edits more widely available. Understandably, some of the remixes Frank pressed gained something of a cult following. A deal was struck to sell edits in a few specialist record stores. For every acetate sold, the remixer would get $1. (The original artists were never acknowledged or paid.) It was an under-the-counter and small-scale operation. Frank could never mass-produce acetates, as they had to be cut in real time. Even the best selling remixes barely sold 100 copies. But as niche as Sunshine Sound’s pressing business was, it was still influential. These were, in effect, the first white label dance remixes in record stores: work made by DJs for DJs. Eventually, major record labels began to pay attention to Sunshine Sound mixes.


Not all of it was welcome. John remembers getting an angry phone call from Prelude Records when they discovered he’d remixed Musique’s “In the Bush” without their permission.

Pictures Studio

But often the awareness was positive. A big break for John came when Greg Carmichael and Patrick Adams got talking to Frank Trimarco in the Sunshine Sound offices. Greg and Patrick were looking for a mixer to help with their latest project. Frank recommended Morales, who was then asked to work on Inner Life’s “Caught Up In A One Night Love Affair,” a record that featured a young Jocelyn Brown on vocals. This was John’s first experience recording in a real studio outside of his home set-up but the results were simply sensational. John continued to work with Patrick and Greg through the early ‘80’s and subsequently became one of the most in-demand remixers in the music business, eventually remixing everyone from Leroy Burgess to the Rolling Stones. By the late ‘70’s record labels were commissioning more and more DJ remixes. During this time, Sunshine Sound continued to be a vital part of remix culture. Walter Gibbons, who’d previously had his own acetate pressing business, Melting Pot, began to get his personal remixes pressed at Sunshine. Perhaps the best was Walter’s mix of Gladys Knight’s “Better Than Good Time”: a record that’s still talked about as one of the most elusive disco remixes ever. The 12 minute version is significantly different – and significantly better – than the six minute version that was officially released, For many of New York’s best DJ’s, Sunshine Sound acetates became a vital part of their arsenal. Kenny Carpenter, Nicky Siano, and Tom Moulton all played them. Larry Levan was an especially big fan and Sunshine edits, such as Bobby Busnach’s mix of “Girl You Need A Change Of Mind,” became Paradise Garage anthems. One man who knows more than anyone about the impact of Sunshine Sound is


Patrick Lejeune, AKA Disco Patrick. Patrick is the authority on disco bootlegs and owns the largest collection of Sunshine Sound acetates in the world – around 400+ at his last count. He’s also written a book on the subject, The Bootleg Guide To Disco Acetates, Funk Rap and Disco Medleys. As he tells it, “a lot of Sunshine Sound acetates are one of a kind. I’ve found about 600 titles, but there could easily be more. If you buy a Sunshine Sound and you don’t know anything about it, the chances are it isn’t good. Only 10% are any good and the rest is history and nice to have. There were a lot of other mixes from local DJs that were very primitive, the cut and paste isn’t good. They’re home-made recordings.” The fact anyone could press records at Sunshine Sound explains why only a few Sunshine Sound acetates contain great music. Even so, after nearly 40 years, most Sunshine Sound acetates barely play back thanks to the temporary nature of acetate records. None of this has dulled Patrick’s enthusiasm, however. When I ask him his favorite releases on the label he references the Gibbons’ mix of “A Better Than Good Time,” an acetate he saw go for $1,000 on eBay ten years ago, and a raw, stripped down version of Candido’s “Thousand Finger Man” that was never officially released. As the ’70s turned to the ’80s, the fortunes of the disco industry took a sharp turn for the worse. The “Disco Sucks” movement, a campaign that ostensibly celebrated rock aesthetics but slyly attacked the gay and black elements of disco, took hold of American mainstream culture. Many disco labels struggled, and before long most had either shut down or moved from their grand, downtown New York offices. Sunshine Sound became a casualty of the disco downturn, shutting up shop sometime in te early ’80s. Unfortunately little is known about Frank Trimarco’s next moves. His name pops up as a mastering engineer for releases on New York house label Quark in 1989, but after that there’s no record of him. Many accounts state that, sadly, Frank passed away sometime in the early ’90s. However, it’s clear that Sunshine Sound has had an enduring, if oblique, influen-


ce over dance music. The records that came from this lowly, New York office had a monumental effect on a golden age of NYC nightlife. The ideas and ethos first crystallized on the Sunshine Sound remixes have become mainstays in every remix since and likely forevermore Article by: Stephen Titmus for RBMA With Permission of the Red Bull Music Academy: http://daily.

16 16 oderbergerstr. 4 • 10405 berlin friedelstr. 49 • 12047 berlin



In the middle of the 70s, American Disco was imported to South Africa, and 4/4 BPM were added to Soul music, which sparked a revolution and helped bring a halt to popular styles like Mbaqanga and Marabi. Long succesful bands such as the Mahotella Queens ao found themselves overnight as icons from the past.

SOUL GEMS & BUMP MUSIC Styles from before the 1970s fusion of Disco and Soul were not widely regarded by South African teenagers and were perceived as being sanctioned by the white oppressors. Few South African bands gained a lasting success during this period, however, with the exception of The Movers, who used Marabi elements in their Soul music. Their biggest hits were produced by David Thekwane, a South African saxophone player who was equally working as a producer. He became most succesful with The Movers, mainly destined for the African Soul market and based on the music of American idols like Percy Sledge, Wilson Pickett and Booker T & The MG’s. Although his working method may be similar to the assembly line of Motown in the 60s, good music came out of these collaborations. The most famous names include The Flaming Souls, The Zombies, The Boyoyo Boys, The Mabone Boys and The Soul Throbs to name a few. The Movers worked imperturbably to create a vast catalog of recordings, sometimes with singers Mavis Maseko and Blondie Makhene for instance. Soul with a dash of Marabi while the organ and saxophone remain a prominent part of their sound. Each recording brings out the diverse qualities of The Movers; they played “cross-over” Pop, Soul and Disco and still added their own unique touch. Almon Memela was another producer who created a popular dance style; Bump music as it was called in slang,



bum ‘Graceland’ with local artists. Not many people will remember that before 1994 there was an international economic and cultural boycott against the South African apartheid regime. Nevertheless a few adventurous American artists traveled to the country to tour and record, like soul singers C.L. Blast, Percy Sledge and Timmy Thomas among others. In 1976, South African youngsters rebelled en masse against the apartheid regime and governmental authority, and a vibrant, youthful counterculture was created, with Disco as an integral part of its focus. Disco was not just a new style of dance music, it created a dreamworld that drew thousands of hopeful young kids to the glitter and glamour that Disco promised. Later, local styles such as bubblegum and kwaito developed in the tradition of disco, and would form the soundtrack for Young Urban South Africans until House music took over.

LADY AFRICA MARGARET SINGANA Margaret Singana was born Margaret M’cingana in Queenstown in 1938. In the 1950s she moved to Johannesburg, and soon started performing with The Symbols. In 1972 Margaret made based on the sexy dance that was popular at the time. Not exactly household names to European ears but these days their work has been rediscovered by UK based labels like Strut. Do check out the wonderful compilation Next Stop… Soweto Vol. 2: Soul, Funk & Organ Grooves From The Townships 1969-1976 ( STRUT057LP) 2010 Strut.

GRACELAND It was in the early 80s that David Thekwane’s productions with the Boyoyo Boys drew the attention of American singer Paul Simon who was inspired enough to travel to South Africa and record his groundbreaking al-


But it is Margaret Singana’s spirit and voice from deep within that defines the moment and accentuates her African roots.

“Good Feelings” with the band. She became the first black artist to feature on the Radio 5 hit parade. Singana’s song “I Never Loved a Man the Way I Loved You” became a hit. In 1973 she was cast as the lead singer in the musical, Ipi Tombi, and soon made herself famous with the song “Mama Tembu’s Wedding”. She suffered from bad health for many years but, in 1986, she returned to sing “We Are Growing”, the theme song from the television series, Shaka Zulu. Her irrestible singing style was influenced by American R&B, deep Southern Soul, Black Gospel & Disco. Her vocal abilities can stand the test with those of Candi Staton and even Aretha Franklin, America’s First Lady of Gospel & Soul.


Margaret Singana’s big moment came in 1973 with the release of ‘The Warrior called Ipi ‘N Tombia’, a reworking of the musical Ipi ‘N Tombi written by Bertha Egnos and her daughter, lyricist Gail Lakier. In the following years, she released several other albums in South Africa, mostly produced by Patric Van Blerk which were a success in her homeland, but her performances in Europe yelded. In 1978 she had a stroke, but she recovered and came back. In the mid ’80s, she sang “We Are Growing”, the title song of the television series Shaka Zulu. This song became a No.1 hit in the Netherlands a few years later. The Dutch released 12” of Shaka Zulu ‘We Are Growing’ contains the original version, the extended remix and a song that is quite special for Margaret Singana as she sings in her native language isiXhosa, not in English. ‘Hamba Bekhile’ is a traditional song that women sing after brewing beer when they pass the calabash around the thirsty men to sample the brew. It’s also the name of an album that was released in 1978. But that hit was to be her final bow and the woman affectionately dubbed ‘Lady Africa’ became crippled and bound to a wheelchair and at the age of 63, in a financial situation unfitting a star appropriately. Singana received many awards, including the 1976/1977 critics award from the British magazine, Music Week. She was known as “Lady Africa” in Southern Africa and passed away in 2000.

PATRICIA MAJALISA When a very young Patricia Majalisa left her home town, East London, in the Eastern Cape in 1978, she had a dream of becoming one of the most successful local pop female singer. After an initial ten years struggle to have a niche for herself in the music industry, ‘Lady Luck’ came her way when she met hit producer Dan Tshanda. Like all other artists desperate for a recording deal, they were a frequent sight at the old Gallo Studios in Kerk Street. Fortunately, ace producer Hamilton Nzimande from ‘Witch Doctor’ and ‘Gimba’ earned her platinum discs with sales in excess of 50 000 copies each Next episode of the story of South African Disco & Boogie Part 2 - BOOGIE BOMBS, DISCO DYNAMITE and the first South African Disco Movie “Botsotso”!

Gallo Records, listened to their demo tape and he liked what he’d heard. That culminated in them recording their debut album ‘Mr Tony’ which although not a hit, made them realise their potential. The late Mr Nzimande did not give up on them.

If you would like to contact Eddy, his e-mail adress is: Eddy is selling part of his collection on Discogs, seller ID: 453378. He will also be selling records on the Utrecht record fair on 16 & 17 April 2016, stall 388 (hall 12). At this fair, he will be bringing a fine selection of rare South African Disco and boogie for sale, so you should definitely check it out if you are in Utrecht.

This made everyone see that the group had the potential to make it and that’s when Ray Phiri of Stimela give them the name ‘Splash’. This really splashed them with the production of the hit album ‘Peacock’. As the album attained sales of more than 50 000 copies, producer Hamilton Nzimande decided Patricia should do her first solo album ‘Cool Down’. The album sold Gold, that’s when she knew then that she had arrived and the goal she was seeking. Her second and third albums,




CHAPTER #1 – NYC ‘83

With his ‘House Hunting’ column on the Ransom Note, diggin’ deviant and hardcore-house enthusiast Aiden d’Araujo chronicles his crate crusades to London and beyond waxing lyrical about long lost house records… Rack-raiding religiously results in him scoring serious house hauls whether through a wax wheel’n’deal, a hot house call or the prerequisite pilgrimage to a record shop. A love letter to the holy house trinity of Chicago, New York and New Jersey, his diggin’ dissertations share the seldom seen slices and bargain bin belters he’s unearthed with every piece proving a history in house…

In his new ‘House History’ series for Hot Stuff, Aiden’s first chapter harks back to NYC ’83 where prior to the birth of house in Chicago the post-disco Paradise Garage era laid the down the roots of house… Though most will credit Chicago as the birthplace of house with Jesse Saunders’ ‘On And On’ being the catalyst, some may argue that NYC was just as influential with the ‘Garage’ sound that had formed in the early 80s also helping build the foundations of house – synonymous with the heavy reverb re-rubs and superlative sets by Paradise Garage legend Larry Levan. Influencing a generation of legendary DJs/producers including Danny Krivit, Danny Tenaglia, Francois K and Junior Vasquez, Larry subsequently moved into remixing and production proving to be a studio marvel whether it was remixing Loose Joints’ ‘Is It All Over My Face’ and Taana Garnder’s ‘Heartbeat’ or as the ‘Peech Boys’ producing ‘Don’t Make Me Wait’. All these post-disco platters were precursors to the yet to form house sound…


As disco had it’s heyday, a new sound emerged from its shadow fusing the classic elements of the genre such as the disco drums, piano, strings and diva vox with the emergent sounds of synthesisers and drum machines giving birth to boogie and later spawning garage. House Hunting hero Winston Jones was one of these new wave of producers,

and along with his partner in crime Paul Simpson they collaborated on ‘Use Me, Lose Me’ as The Paul Simpson Connection on Arthur Baker’s Streetwise imprint. Released in ’82 when the foundations were laid for this new sound, this post-disco, proto-garage production was the prototype to Paul and Winston’s inimitable style that has a distinct dubby, disco flavour but with an ear open to the future.

The same year disco institution Prelude enlisted post-disco prophets Darryl Payne and Eric Matthew to be on productions duties for the stable’s muse Sharon Redd. Their funk-fuelled boogie bombs complete with an electronic undercurrent were the perfect foil for Sharon’s diva dynamism and flamboyant flow with the end

result being ‘Beat The Street’ which was a major club hit with its proper proto-house pressure – further collaborations included ‘Never Give You Up’ and ‘Love How You Feel’, with all these releases on the Prelude production line being hits on the Billboard Hot Dance Club Play charts. However, it was in ’83 when the garage sound really laid its roots. Alongside other proto-house heroes such as Greg Carmichael, Kenton Nix, Matt Noble and Patrick Adams, Boyd Jarvis was another intricate yet integral ingredient to the seeds that had been sown. He scored his first synthesizer in ’81 which was the Yamaha CS-15 and as this was all he could afford at the time, he mastered this machine to the degree that he’d jet over to Tony Humphries’ house armed with his synth in a US canvas postal bag to overdub mixes. Around this time he was also sorting the interior design for the club Melons which was home to rezzie DJ Derrick Davidson so sensing an opportunity he took his synth down and his overdubs went down a storm. Hearing him one night was Timmy Regisford who invited Boyd down to WBLS radio to do some live overdubs for Timmy’s audition for the station. For the show Boyd produced a couple of prototypes including ‘One Love’ (which was inspired by the Peech Boys’ ‘Don’t make Me Wait’ and was a precursor to the Janice Christie joint on Supertronics) and ‘Stomp’ which would later evolve into the prime Prelude platter ‘The Music Got Me’. The audition was a success and both Boyd and Timmy knew they were onto something when upon playing Boyd’s debut productions down club sanctuary Better Days they were a hit on the dancefloor. They approached Marvin Schlachter at Prelude who upon hearing the primitive productions and their exploits on WBLS proceeded to hand them a contract with their debut 12” being ‘The Music Got Me’ as Visual featuring Rae Serrano and Jasun Smith on vox complete with The Hump on the mix – considered by many as the proto-house Holy Grail. Boyd’s early productions blurred the boundaries between soul, funk, disco and boogie, complete with the emergent electronics and


dub versions laying down the roots of the yet to form house and garage sound – a perfect example being Colonel Abrams’ debut ‘You Got Me Running’. Timmy’s show on WBLS was the perfect platform for their productions and with support from Larry Levan this new, exciting sound that had emerged outta NYC would help build the foundation of house…

In the next House History chapter we’ll head to the mid-west for the birth of house a year later in Chicago, but in the meantime here’s my top 5 proto-house platters that still stand the test of time – house hark back to NYC ’83!


Though most will be familiar with Island Records’ subsidiary Mango via the Larry Levan mixed ‘You Can’t Hide’ (Your Love From Me)’ by David Joseph, for me it’s all about the seldom seen Mango slice ‘Don’t Go Away’ by Affinity aka garage guru Warren Doris with Mark Kamins on the mix. Flip over straight for the ‘Runaway Dub’ that with its sparse dubby vox, schizo-synth stabs, guitar licks and the mother of all basslines was a prime Paradise Garage platter that is synonymous with the garage sound.


A cover of William DeVaughn’s original, Craig Peyton reimagined ‘Be Thankful For What You Got’ as a dance track inspired by the sounds and atmosphere of a jaunt in Jamaica. Though his roots in jazz, he preceded to produce a proto-house precursor complete with disco don Eric Matthew on the mix adding his midas touch. The vocal version is a guilty pleasure but if the yearnin’ vox not your thing flip for the instrumental where the arpeggiated synth score comes to the fore relentlessly building and will be at home in any set whether disco, boogie, Italo or house…



Despite being a 25 West mainstay producing hits such as B Beat Girls ‘For The Same Man’, for me Matt Noble is still one of the unheralded producers of the era – definitely a proto house pioneer. Case in point is the instrumental version of Maniacs’ majestic synth-laden ‘Sweet Ladies’ that just builds and builds… Definitely one of the choice cuts from my collection and is a proper warm-up weapon – the odd time I’ve played out and spun this slice without fail got heads comin’ up to the booth checkin’ out what it is. Whenever clocked in a record joint it’s always been a few pound a pop so definitely worth a cop… 4. SHIRLEY LITES – ‘HEAT YOU UP (MELT YOU DOWN)’ (MELT DOWN MIX) – WEST END

Most will associate Mel Cheren’s legendary disco institution with the Larry Levan’s Peech Boys project or label mainstay Kenton Nix, however I love the Italo flow of this Shirley Lites 12”. Forget the vocal and head straight for the ‘Melt Down Mix’ which is a heady concoction of boogie, Italo and Hi-NRG complete with a sprinkling of disco dust courtesy of the dream-team of Nick Martinelli and David Todd – those swirling space-age synths will make you swoon pure face-melter…


Though Prelude’s roots were in disco come ‘82/’83 the post-disco Prelude platters were definite house precursors whether the bubblin’ electronics and synths from outta space ‘On A Journey (I Sing The Funk Electric)’ by Prelude production powerhouses Eric Matthew and Darryl Payne under their Electrik Funk alias or the future boogie of ‘The Key’ by Wuf Ticket aka James Mason complete with Francois K on the mix. However, it’s proto-house pioneer Boyd Jarvis’ debut production ‘The Music Got Me’ as Visual featuring Tony Humphries on the mix that for me is the definitive house prototype.



Disco Love 4 – More More More Disco & Soul Uncovered Clear feat. Lee Edwards - Equal Love Opportunity (Al Kent Reedit) Barbara Jean English - If It Feels This Good Genobia Jeter - Things Got To Get Better Emanuel Laskey - I’d Rather Leave On My Feet Hazel Rambaransingh - I Wanna Give You Everything (Al Kent Re-edit) Mary Mundy - Love Is Gone (Al Kent Re-edit) Marva Hicks - Looking Over My Shoulder Old (M) Pressions - Right On Lee Edwards - I Found Love Symbol 8 - Call Me Joe Casey and Fresh Heir - Let Me Hold You (Al Kent Re-edit) Perfect Touch - Keep On Loving You (Al Kent Re-edit) Betty Everett – Prophecy Skip Mahoaney & The Casuals - Running Away From Love (Al Kent Re-edit) Fresh Fruit - A Song For You




I’ve been in love with The Sound of Philadelphia for as long as I can remember and for great reasons. After all, I was birthed and raised in the city in which that distinct sound hails from, Philadelphia and have been carrying a torch every since becoming a DJ to make sure I deliver that sound in every country that I play. Philadelphia International Records was founded in 1971 by the award winning writer/producer duo Kenneth Gamble and Leon Huff along with Thom Bell and focused on R&B, Soul and Disco. During the history of the label, they’ve signed a who’s who roster of top selling acts including The O’Jays, Teddy Pendergrass, Patti LaBelle, Harold Melvin & The Blue Notes, Dexter Wansel and The Three Degrees to name a few. In spreading the sound of Philadelphia across the charts, Gamble and Huff also worked as independent producers and produced The Jacksons’ first two albums for Epic / CBS Records after their contract ended with Motown Records in 1976. The self-titled The Jacksons LP is most notable for the platinum selling and dance floor filler, “Enjoy Yourself”. What was originally known as Philly Soul during the height of the R&B era became known as The Sound of Philadelphia which


could easily be recognized by it’s lavish orchestral instrumentation, driving percussions and rhythms, heavy bass and often used the world renowned Philadelphia Orchestra to achieve that sound which later became the inspiration for which the disco craze of the 1970s was born. The label, nor it’s sound would be complete without a studio and it’s in-house musicians. Most of the PIR’s music was recorded in the legendary Sigma Sound Studios with Chief Engineer Joe Tarsia and backed by resident studio musicians known as MFSB. With over 170 gold and platinum selling records in their discography between 1971 and beginning of the 1980’s, one would believe that another decade of great music would sure to follow but the label slowly declined and went unnoticed by 1987. To honor this legendary label I’ve completed my 2016 exclusive Japan Tour Mix CD dedicated to The Sound of Philadelphia and it’s great musical contributions. Here is an essential list of 10 45’s from the label, most that you will find on the mix and guaranteed to fill the floors of your local disco. Note: The 1974 MFSB featuring The Three Degrees single, “TSOP” was also the theme song used for Soul Train

MFSB Summertime and I’m Feeling Mellow

Dexter Wansel - Life On Mars

Teddy Pendergrass You Can’t Hide From Yourself

Jean Carn – Free Love

McFadden & Whitehead I Heard It In A Love Song

Peoples Choice Do It Any Way You Wanna

Three Degrees - I Like Being A Woman

Anthony White – Hey Baby

Norman Harris In Search of Peace of Mind

Harold Melvin and The Blue Notes Bad Luck



Stuart Baker

Sounds of The Universe London

While the nascent cultural world of hip-hop – graffiti, MCs, DJs & breakdancing – can be traced directly back to the community centres, block parties and street jams that took place in the Bronx in the mid-1970s, rap on record has a later and specific jump-off point – November 3, 1979. And the first exuberant wave of innocent, upbeat, ‘party on the block’ rap records that followed had a similarly specific end point, just two-and-a-half years later.i, These chronological punctuation marks are the release date of The Sugarhill Gang’s ‘Rappers Delight’, and in relatively quick succession in mid-1982, Afrika Bambaataa’s ‘Planet Rock’ and Grandmaster Flash and The Furious Five’s ‘The Message’. The commercial success of these three small pieces of plastic hold much historical and political significance, so much so that it almost makes the music contained on them almost of secondary interest. The first rap records made in New York in the period between these three pivotal hit records were all released on small, independent, often family-concern record companies, at a time when rap music still remained under the radar (despite the pop success of the first release in the genre). And while ‘Rappers Delight’ set the ‘party’ mood, The Message signalled the end of this first optimistic era of rap, paving the way for the new ‘reality’ aesthetic of Public Enemy, Boogie Down Productions, NWA et al. And while the first rap records featured live musicians in the studio – with no DJing or sampling –


this soon fell out of favour. Bambaataa’s alliance with producer Arthur Baker for fledgling Tommy Boy Records, employing a Roland TR-808 drum machine and Fairlight CMI Series II 8-bit sampler, signalled a ground-breaking technological switch towards electronic instruments, and one more new phase in rap. The first record labels to release rap music were all owned by long-established New York African-American rhythm and blues producers, the longevity of their businesses based on their ability to keep up with the latest musical fashions. These early producers included Sylvia Robinson at Sugarhill Records; Bobby Robinson (no relation) at Enjoy Records; Paul Winley at Winley Records; Jack ‘Fatman’ Taylor at Tayster and Rojac; and Peter Brown and Patrick Adams at P&P Records. All of these producers and labels were based in Harlem, save for Sugarhill Records, a 15-minute drive away in Englewood, New Jersey. For these musical entrepreneurs, rap was essentially the same as the ‘penguin’ or the ‘twist’ in the 1960s – simply the latest fashion in a historic line of black music trends. To young producers such as Peter Brown and Patrick Adams, who ran P&P Records in Harlem, the link between disco and rap was self-evident. Their mind-boggling array of cottage industry, almost private-press record labels released an eclectic DIY mix of disco and rap 12” singles. In the late 1970s, a small creative group of Harlem-based individuals – Patrick Adams, Peter Brown alongside The Aleem Brothers, Leroy Burgess, arranger and producer Greg Carmichael – helped reaffirm


disco’s place in the family tree of black music, a logical progression from Motown in the 1960s and Philadelphia International in the 1970s. An important factor in the aesthetic of the first rap records was the trepidation felt by most producers at the then unwritten laws on sampling (mainly on account of the fact that samplers had not yet been invented), often to the bemusement of the young rap performers, used to performing over the acrobatic breakbeat mixing skills of their DJ of choice. As a genre defined on performing over existing records (almost certainly a copyright minefield), the first producers wisely elected to employ session musicians to replay and emulate what hip-hop DJs were creating in the streets and clubs – paving the way for the new break-extended musical form. One of the earliest figures involved in the creation of live music on early rap records was a young drummer, multi-instrumentalist, producer and band leader. As a 16-year-old, Errol Eduardo Bedward, aka Pumpkin, made his way down from the north Bronx to introduce himself to the established rhythm and blues producer and label owner Bobby Robinson at his Harlem record store. Young enough to understand the new sensibilities of hip-hop and able to play any instrument, Pumpkin led the in-house group for Robinson on all the early Enjoy Records releases, backing Spoonie Gee, Treacherous Three, Funky Four Plus One and others. He also did work for a number of other early rap labels before in 1983 signing a solo deal with Profile Records. As the Bronx originators of hip-hop culture, outsiders to the music industry, cried ‘What the heck?’ at the outrageousness of the upstart Sugarhill Gang’s pop success with ‘Rappers Delight’, certain of the city’s long-established black rhythm and blues producers’ ears noticeably pricked up. Always looking for the latest trends, a small group of Harlem-based entrepreneurs took note: unknown MCs rap over


live disco cover version and sell millions of records ... OK, we’ve got it, let’s go! And so it was that myriad independent record labels sprang up (or in some cases were reborn), all after a bite of the big apple rap. Based on 116th Street in Harlem, Jack ‘Fatman’ Taylor was a charismatic ‘street’ entrepreneur – a drug dealer and player in other related trades. He was also a music lover and, as a businessman aware of its commercial potential, began producing soul records in 1963. He launched Rojac Records and sister label Tay-Ster working with established rhythm and blues artist Big Maybelle. Maybelle’s main success had been in the 1950s, but by the early 1960s heroin addiction was preventing her from getting a major deal. Taylor stepped in, producing a series of quality soul releases which put the singer back into the spotlight. Other soul artists who recorded with Taylor included Clarence Reid and Kim Tolliver.

At the end of the 1960s Taylor moved to Detroit, his twin record labels remained dormant through much of the 1970s. Then in 1978 he moved back to New York to open a nightclub, The Harlem World, on the site of an old Woolworth’s store at 116th and Lennox Avenue, which ran until 1984. Circumventing zoning laws meant the site could not be listed as a club, so its official title was the Harlem World Cultural and Entertainment Complex. Taylor also

owned five fast-food restaurants and a second nightclub in Atlantic City, the Harlem Club. Harlem World was a three-storey club with lit dance floor, chandeliers, gold shag carpeting, mirrored walls and a 100ft-long lightning bolt-shaped bar. It became the cultural centre of hip-hop in Harlem, as Disco Fever was to the Bronx. Most customers only saw the ground floor, with upstairs reserved for staff, a number of whom also unofficially lived there, taking refuge against the harsh landscape of Harlem’s streets.

Harlem World played both disco and rap. The club’s legendary MC battles included Grandmaster Flash & the Furious Five, Busy Bee, Fantastic Romantic, Cold Crush, LA Sunshine, Treacherous Three and Doug E Fresh all battling it out live in competition. Lovebug Starski, Dr Jeckyl (Andre Harrell) & Mister Hyde, Eddie Cheeba, Charlie Rock, Lady Smiley, Son of Sam and Kool Moe Dee all worked there as regular DJs and MCs. The music for the club was managed by the Aleem brothers (who went on to start their own label, Nia Records). According to legend, Sylvia Robinson’s 43rd birthday bash at the venue was either the debut performance of the Sugarhill Gang in an MC battle, or where she first witnessed Lovebug Starski rapping. Either way, the event was the seed to Robinson’s imminent worldwide success. And either way also, Jack ‘Fat Man’ Taylor did not hang around after seeing the upstart group’s (and label’s) success. In 1980 he released the first record by The Harlem World Crew on his newly relaunched Tay-Ster label. The Harlem World Crew was the name given to the loose

collective of the many MCs & DJs that regularly performed at the club.

The Harlem World Crew released just four 12-inch singles on Tay-Ster before the label became dormant again. Of the MCs featured, Lovebug Starski was the best known. He had been the house DJ at Disco Fever, before switching to Harlem World and the Rooftop Roller rink in Harlem. In 1986 he signed a major deal with Epic Records. Dr Jeckyll (Andre Harell) and Mr Hyde signed with Profile in 1981, releasing ‘Genius of Love’. Harrell went on to an illustrious music industry career – working for Russell Simmons at Def Jam, then forming Uptown Records (where he hired Sean ’Puffy’ Coombs), and becoming head of Motown in 1995. Nine blocks north of Harlem World lived another legendary local music figure. In 1946, Bobby Robinson opened Bobby’s Record Shop (later renamed Bobby’s Happy House) on 125th Street and 8th Avenue, the first black-owned business on the block. In its early days, Atlantic Records boss Ahmet Ertugun was a regular customer, tapping A&R information from Robinson on the many black artists whose records he sold. In the 1950s, Robinson set up a plethora of rhythm and blues labels: Red Robin, Whirlin’ Disc, Everlast and Fire & Fury Records. In 1962 he launched Enjoy Records,


releasing the music of King Curtis and Elmore James. He employed a young white promotions and A&R man in the south of the country, Marshall Sehorn (later business partner of New Orleans legend Allen Toussaint), who signed the New Orleans singer Lee Dorsey to Robinson’s Fury label. Like Taylor’s Rojac and Tay-Ster Records, Robinson’s Enjoy Records had been dormant throughout much of the 1970s. In 1979, determined to capitalise on the sudden rise of hip-hop, he reactivated the Enjoy label, releasing a series of landmark 12-inch records in quick succession. These included the debut recording of Grandmaster Flash and The Furious Five, ‘Superrappin’’, plus singles by The Funky Four (Plus One More), The Disco Four and The Treacherous Three. For a man with long-established A&R skills it was surprising that he did not at first see a future rap star living in his own house. His nephew Gabriel Jackson, aka Spoonie Gee, came to live with his uncle after his mother died when he was 12 years old. It was only after Peter Brown, a budding young Harlem producer, released Spoonie Gee’s debut single ‘Spoonie Rap’ for his new Sound Of New York, USA label that the penny dropped. Robinson quickly put him in the studio with The Treacherous Three, Spoonie’s friend Pooch Costello on congas and Pumpkin leading the in-house players for the single ‘The New Rap Language’. Based on the same 125th Street block as Bobby Robinson was another veteran pro-


ducer and songwriter, Paul Winley. In 1956 he launched a doo-wop label, Winley Records, along with his musical partner, the keyboard player Dave ‘Baby’ Cortez. The label ran until 1962 and featured artists such as The Paragons and The Jesters. In 1973 he relaunched the label as Paul Winley Records. Initially releasing local artists including Jimmy Castor, Mighty Tom Cats and Harlem Underground (featuring George Benson), in 1979 he began to capitalise on the new phenomenon of the break beat, releasing a series of bootleg compilation albums called Super Disco Brake’s (sic). Super Disco Brake’s featured some of the many obscure records that South Bronx hip-hop DJs were playing, including now legendary tracks such as

The Incredible Bongo Band’s ‘Apache’, Dennis Coffey’s ‘Scorpio’, The JBs’ ‘Blow Your Head’ and Lightning Rod’s ‘Hustler’s Rap’ (ironically none of which were disco). Delmar Donnell, a local songwriter and drummer who did some occasional session work for Bobby Robinson, launched Delmar International in 1980, producing a handful of early rap records from Spyder-D, Community People and Super 3, later rebranding it Street Beat Records.

‘Boombox: Early Independent Hip-Hop, Electro and Disco Rap 1979-82’ is out now on Soul Jazz Records.


These ‘party’ rap records fell out of favour by 1982. The following year Run-DMC’s ‘It’s Like That’/ ’Sucker MCs’ would be the final nail in the coffin. Run-DMCs ‘reality’ lyrics of ‘It’s Like That’ paired with the stripped down raw, minimalist sound of just a drum machine and rap on ‘Sucker MCs’ meant the party was officially over. The young group began referring to early rap songs about good times - where MCs performed with live-musicians in the studio - derisively as ‘old school’. The new school had arrived


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Luis Mario was there at the birth of disco, and he still is a great DJ after more than 45 years. You can hire him for your Private Events for Clubs, Private Parties, Theme Parties, and Corporate Events from New York to South Florida and every town in between, and you will get a show you will never forget! Here is my interview with Luis where he shares his memories of his wonderful career.

When did you discover disco music and how old were you? Well, I will have to start by saying that my beginnings are way before “Disco” came to be. As a young kid I was surrounded by members of my family that were musically inclined, and music was a huge part of my childhood. Before I graduated from high school in 1969 I was in love with the idea of going into the Army, so one day I decided


to enlist, and I went to Times Square in New York. In those days there were recruiting offices right in the middle of Times Square, so I approached the officer and before I opened my mouth to speak, he asked if I had finished high school. I replied “No sir; I have three months to go.” The officer looked at me and said “Go back and finish, then come back and I’ll be here to help you.” Well, three months later at the end of 1969 I started to go to clubs like the Machine at the Hotel Empire, the Haven in the

Village in downtown Manhattan, the Jungle, and others. One day I went to a club called The Sanctuary. I was taken by the music, the crowd and the ambiance. The DJ was Francis Grasso. I was in love with the power that this man had in front of three thousand people in front of him. He was in charge, and the audience responded in a way that was overwhelming. At that point I decided that I would be a DJ. The passion I had to become a soldier in the army had left my thoughts, and

my passion became the music and performing in dance clubs. Immediately I became friends with Francis, and I became his understudy, keeping the same play list for at least two years, as I was getting more and more involved with the new music style that we had to get used to. So when Disco came I was in full gear and already had several years as a professional night club DJ. Obviously there is so much more history to tell you about my beginnings. I’m trying to put it all in a book soon enough.


Where did you buy your records, and were you member of a DJ record pool? In the early days as a DJ, the only choice was to do your own research and walk into every record store that you could find in order to look into all the crates or bins to find that special song that you could introduce to the crowd that night and see what kind of reaction you would get. You needed to use your instinct as a DJ to choose the right groove that would appeal to your audience. The other thing that we used to do was to meet with other DJs during the day and go to all the record companies individually and get the “product”, as we called it. All of the record companies had a promoter. These promoters worked hard; they did the running around during the night. They used to stop by the clubs that we were playing and distribute the records that they felt were worth promoting. But even if you got a record that night, we DJs decided to go straight to their office and hang out to try to get more music from them; music that they only had a couple of copies maybe hidden; and we would persist to get that special record that the promoter was going to give to other DJs that were playing at more excusive night clubs in the city. Most of us became good friends with those promoters. As I remember, years later a dear friend of mine, DJ Paul Casella, Dave D’Aquisto, and David Mancuso signed a letter of intent (I have the letter in my archives) to open a Record Pool. David Mancuso opened the first record pool in the SoHo area, 99 Prince Street. New York. I was one of the first members, along with the elite DJs of the time. This list is the foundation of the Legends of VinylTM Hall of FameTM .

First DJ to perform live four hours non-stop on New York’s Radio WKTU-FM in 1978. The only DJ to make history by “killing” Disco in Las Vegas to introduce the New Wave era, broadcasted around the world by the Entertainment Tonight show in 1980. Here are just a few Club memories that I can remember. In 1973 after hours/underground clubs were too few to get into as a DJ, so just like so many other DJs I had to join the mainstream clubs. I landed a job at Mr. Laffs, owned by Art Shamsky and Phill Linz, two ex Yankee players, on First Ave and 64th Street. In a matter of weeks, the line of people outside waiting to come in extended around the corner. They were coming in to partake in the wondrous musical trip that educated the minds of all my following based on my musical training beginnings at The Sanctuary, The Haven, Machine 1, The Jungle, Superstar. A dream came true when I was asked to play at a membership only, after hours private club. This club had the Underground atmosphere touch, that’s why I felt at home.

Can you share some memories about the record pool and how it was getting the records? Once a week, DJs would come to get their product and fill in a feedback sheet to keep record of each song and to get the top 20, 50, 100. Feedback on the label and how the song is doing in each club that we played. One of the fun memories at 99 Prince Street was the meetings when we all got together and saw each other for a few moments because we would work, as in my case, seven nights a week, and there was no time left to hang out. I was lucky that I’ve always worked the full week for decades and worked in hundreds of clubs in New York and abroad. In Which Discos did you DJ? Well, here is a little history from my four decades. Celebrating 45 years as a Pioneer and Legendary Night Club DJ. First DJ to Pioneer “touring” across the country and abroad in the early 70s. Representing New York club DJs throughout the country, and David Mancuso’s and Eddie Rivera’s I.D.R.C. Record Pools.


The place was called Cobra’s, a most decadent atmosphere where artists, from musicians to actors, would come to hang out. Cobra’s was on the seventh floor at 18th and Broadway, owned by Dennis Johnston and Dennis Cobra. The ambiance started in the elevator where a dancer from the Trocadero Ballet Co. (a gay ballet company) would welcome you with a differently decorated elevator every Friday and Saturday night. Seven floors up you walked into a living room where the hostesses were several Cobras in a large enclosed aquarium. You could actually trip your night away watching these snakes munch on guinea pigs and rabbits. Enough said!!! What a trip of a job that was - I loved it. I worked at such clubs as Le Cocu, The Sting, Directoire/Twinkle Zone, Abracadabra, Cork & Bottle, The Ritz, Night Moves, Reflections/Ginza, Adonis, The Tower Suite Disco, The Rooftop, Les Muches, Studio 54, The Top Floor, Percival, L’oubliette, Rockabout, Magique, Somebody’s, Chip n Dales, Mr. Laffs, The Rainbow Room, Top of The Wor-

ld, Avolation, Melons, Levels, Stillwind, Iperbole, The Lollipop, Green Parrot, Galaxy, Ground Zero, The Cat Club, The Copacabana. This was just in New York. In 1977, I was part of the Billboard Convention in New York and I met a Disco producer, Jessie Sertain, who had an idea for a great project in Honolulu, Hawaii. I was chosen to be part of Disco Fever 2000, my first out-of-state performance, making me the first DJ to tour nationally and abroad. When I got back to New York I was approached by Phil Gary, the man who brought the Rolling Stones to the States. He was also interested in my ability to make a night an unforgettable experience, and he got me out of state gigs. In 1977 another producer, Roy Webb, got me to be the first club DJ to play at a radio station for the first time. WKTU-FM was creating a show to have famous DJs playing continuous music throughout the entire four hour show just like in the dance clubs. I also toured in Dallas, Texas - daVinci; Max 151 Los Angeles, California; 20th Century Fox - Charlotte, North Carolina; and Octaves - Louisville, Kentucky.

the greats, my friend Paul Casella. For three more years I carried the responsibility of keeping myself on top of my game. In the mid and late 80s I was pulled in so many directions by club owners that wanted the same concepts that I created for other top named clubs. The 90s came, and I was ready to tackle South Florida opening one club after another and keeping the endurance and energy to land major contracts. I had the opportunity to work and own clubs in South Florida. The famous “Lounge” in Coral Springs, Coco Loco’s, Joseph’s Landing, Conga’s, Deco Drive, Miami Joe’s, Polo Lounge, Cory Cafe, Savoy, Club Escape, Platforms. Now in the new millennium, I have reached so many highs that I am ready to change once again with the new era and, to this day in 2016, I am reaching for new levels in playing. I can say without exception....What a Life!

Any favorite clubs of those? Believe me there are a few, not just one that I find my favorite. I have been blessed in finding the right club every time. Did you have a special DJ name? My name is Luis Mario Orellana Rizzo so, from the beginning, I was known as “Flaco”, which means “Skinny”. Then my manager needed to introduce me as Luis Orellana. That was difficult for radio DJs or any person that would have to introduce me to the audience, so later on I decided to just go by DJ Luis Mario and it works. How did you find out about the existence of the disco acetates, and did you play the acetates at the disco?

After that, Las Vegas called, and I was on my way to “Kill Disco”, televised nationally at Club Money. I also worked at Paul Anka’s Jubilation. When I came back to New York, I landed at the world famous The Copacabana from 1980-1983 then I was, once again, called on by Roy Webb to open one of the most unique club/cabaret/theatres to hit New York, The Cat Club, where I had the pleasure to share the DJ booth with one of


Now, this is great because, as I told you, we walked the city and we stopped by every record company in New York. One day we heard that there was a place called “Sunshine Sound” where you could record your remixes and get an acetate. That was fantastic. So we decided to stop by, and I was introduced to a young John Morales. I’m sure that he won’t remember this; he was bombarded by every DJ in town after a few weeks. I started to stop by Sunshine once a week at least. Then I would go to the club at night very excited

Do you still have all your records?

Not all of them as I had in New York. I lost thousands of vinyl from years of moving from one place to another. Now I have about fourteen thousand in my studio, including 45 RPM; all the original records from when I started. I look at them, I play them, and I know that soon enough I will have to make a decision to sell them before I’m gone. My wife has no idea how much they are worth. She knows that they are special and how much I care, but not enough for her to make a good decision if she had to sell. I guess that’s typical for DJ wives or husbands. Are you still DJíng today?

and wait for the right moment to introduce the remix version. It was simple, but it was the only thing we had in those days to make us happy.

I am absolutely 100% involved in the art of DJing. Not doing full nights anymore; I don’t have the stamina to stand for more than four hours carrying the club as I always did. Enjoying every minute when I have the opportunity to perform

Which places besides Sunshine Sound did you buy acetates? Actually, we had the good fortune to get other acetates from other friends, including Walter Gibbons. I would get a copy because I was working at a popular club and that’s how it goes-if you are at the right club things happen. Did you ever consider making your own edits and press them on Acetate?

I have so many of my own still on acetate, but now I had to transfer them to my computer.


LEGENDS OF VINYL What is exactly the Legends of Vinyl?

Legends of Vinyl are a national institution providing global leadership in education, recognition and celebration of excellence in the art of creative spinning of record vinyl. To this day, these Pioneer Legendary DJs are still actively performing for large audiences and representing a very small and unique community of DJs that are from that innovative era. They are the originators, the springboards, of the art of spinning record vinyl that has laid the foundation and has paved the way for the latest and currently changing dance music avenues of today. And to add to all of this, no two Legendary DJs from the Legends of Vinyl are alike with their innovative and creative spinning talents. Each is his/her own Rembrandt. All forms of dance music today, and without a doubt, has its roots tied to the Legends of Vinyl. For 40 years the Le-

L-R: Jellybean Benitez, Luis Mario, Frank Corr


gendary Pioneer DJs have remained a constant in the art of remixing, remastering, engineering, and producing the highest quality of music as you still hear it today. Their ingenious work is still heard and cherished all over the globe today as it was originally created on vinyl 12 and 7 pressings. Legends of Vinyl is guided by prestigious, award winning and Hall of Fame DJs, chaired by Luis Mario “Flaco” Orellana and Ray “Pinky” Velazquez. The entity is also comprised of and supported by key figures from the DJ entertainment community. The Haven, The Sanctuary, The Loft, The Salvation, the world renowned Paradise Garage. Anyone who was part of the atmosphere and chemistry at any one or all of these historic dance clubs, owns a nostalgic and emotional “take over” that they cannot describe in words alone. There have been books written about the early days that gave way to who the Legends of Vinyl are and, if you read these books, you will come to logic and understand the written text but can never explain nor come close to absorbing the emotional euphoria-the intense emotional high. To fully capture this experience you will have to come and hear and feel the Legends of Vinyl - those classic club DJs from that era who, to this day, “spin” vinyl just like it was performed in the early days of disco and dance. The music is nothing like you’ve heard - underground, creative, melodic, sensual, driving, attitude, funk, high energy, all combined providing an

emotional trip and, to put in simple layman’s terms, downright “nasty” at the same time. This is actual artistry and not just an evolving technology. The true artistry of spinning vinyl records; you have to be there, hear it, and watch the show created by the originators and absorb the emotional wisdom. Legends of Vinyl, the originators, the innovators, the turntable risk takers - the ones who started the party disco/dance movement that has evolved into a dance craze frenzy all over the globe and further directed and produced the fire of what has captured every form of dance in every medium today. All dance roots have their humble beginnings tied to the Legends of Vinyl. We will rekindle an era of passion and emotion - and you will become part of the bygone era with us from sundown to day break, recharge your batteries and come to the next gala event.

As you listen and dance to The Legends of Vinyl you can hear how dance (pre-disco) music spawned and influenced the new forms of music that you hear today. Most of this music originated in 7 inch 45rpm vinyl track format. Get ready for our upcoming gala DJ/Artists Hall of Fame Seminars, Awards Ceremonies, and After Parties as history makes a full circle comeback! We’re coming to a city near you!! We would also like to thank the early music industry record label executives and promoters for the innovation of providing early and advance promotional test pressings and acetates of our great music library that is the heart and soul of what we are all about. A special thanks goes to Mr. Tom Moulton for his key and ingenious part in the evolution of the disco mix and production that has expanded and provided new life to dance floors everywhere. Where can it be found on the net?

Even the old club historians and aficionados will find this performance “trip” to be entertaining and memorable just to listen to and watch.

Disco balls? Rubbish! The first lighting that was used for dancing in this era – psychedelic lighting; that’s right, right out of the 60s; so if you think we’re talking Saturday Night Fever – go back, way back - back into time! Where the only people that existed were Troglodytes (as Jimmy Castor would have said).

Legends of Vinyl is one of the most respected organizations in the world, based upon the legitimacy and personal backgrounds of each of the thousands of members. Therefore, as an agency we can book DJs by booking agents calling one of the offices at 954-979-4493 or by emailing us at

How can people book the DJs:

L-R: Gene Leone, Bobby Eli, Luis Mario, Andy Khan & Frankie Sestito


Names from left to right: Ray Marinez, Victor Rosado, Ellen Bogen, John Luongo, Frank Corr, Frankie “Who” Sestito, Bill Hallquist, Lewis Maritnee, Ray Caviano, Bill Kelly, Chico Starr, Luis Mario, Martin “Monster” Aurelio, Bobby Viteritti, Bo Crane, Mark Zimmer, Jimmy Yu.

Bo Crane &Shirley, John Luongo & Heidi, Luis Mario, Ray Caviano, Martin “Monster” Aurelio.




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The Carvery is a London based studio centred around the original Motown Neumann lathe supported by the very best in vintage and digital mastering equipment. We have a wealth of experience, in vinyl mastering and manufacturing.

Sofrito | Strut | !K7 | BBE | Soundway | Mr Bongo | Heavenly Sweetness | Favorite Recordings | Tru Thoughts Matsuli | NYCT | Posh Isolation | Brownswood Bastard Jazz | Disco Patrick and many more...


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On April 16th & 17th, 2016 the Mega Record and CD Fair will take place at the Jaarbeurs convention centre in Utrecht the Netherlands. The fair will celebrate its 45th edition and is already internationally renowned for its enormous supply of vinyl, cd’s, pop memorabilia and other music related items. The fair attracts dealers, collectors and visitors from all over the world who are interested in music or looking for golden finds. The record fair hosts a Ramones Pop-Up Photo exhibit to honour the 40th birthday of the debut album by the Godfathers of the American Punk movement. RECORDPLANET PRESENTS: RAMONES 1976-2016 POP-UP PHOTO EXHIBIT The fair celebrates the 1976 birth of the Ramones debut album with around sixty photo’s made famous by American photographers like Bob Gruen, Jenny Lens, Monte Melnick and many others. Curator of the exhibit and long-time official Ramones photographer George DuBose knows many of the artists personally and collected rare images from them which were used for album covers and publicity stills. All photos are printed size A2 on paper and after the exhibition (on Sunday from 4.30 pm!) fans are allowed to ‘liberate’ these from the wall and take them home for free. DAVID BOWIE WITH IGGY, ZIGGY AND LOU Bowie’s death earlier this year was a big shock for many of us. The fair honours the Thin White Duke with a poster exhibit curated by Gallery Bamalama from London. On show are some beautiful and rare designs amidst related memorabilia from his musical friends like Iggy Pop and Lou Reed. LAKESIDE STORIES PRESENTS DUTCH TALENTS Lakeside Stories has been established for some years in order to promote up and coming singer/songwriters from Holland. At this edition of the fair they will introduce six new Dutch talents. Besides that a few musicians from this collective will perform Pink Floyd songs in a special way. OTHER ACTIVITIES AND EVENTS AT THE FAIR • A microphone exhibit by Marco van der Hoeven author of the book ‘Witnesses of Words’. • Pet’s Vinyl Art expo shows a completely different view on vinyl. • The Three Imaginary Boys Pop quiz with loads of free prizes will be held on Sunday. • Omega Music Auction (UK) will auction around a hundred music related items life at the fair. • Book launches by Robb Kopp (Record Book part 3) and Hans Evers (Cover Book part 2). • Record launches by English magazine the Record Collector. • Vinyl hostess DJ Miss Twist and much more



TOM:Tom Moulton, crazy Guy, he was born of Music. Lives for Music and will probably die of Music, but that’s probably really basiclly my whole life. When I was a teenager, my fondest dream was working in a record store, just to be around records. I was doing that after school. I just loved turning people onto Music; there was just something about it. I got into a salesman’s job after the retail thing. I did that for a few months and then I went to California. I lied about my age and became a buyer of the 45’s at Seaburg out in California-the juke box people. Again, that was another fascinating job. I didn’t really care about money. All I cared about was being around in Music-which sometimes hurts you. There was a man called Muntz who had just invented a strange thing called stereo tape. And I thought, my god, two ears hearing two different sounds. I thought that was the most fantastic thing I’d ever heard in my life. So I asked him for a job and he gave me a job, and I worked selling tapes and duplicating things. I did that for a long time and then I got into promotion-for seven, eight years. I worked for King records, do you remember them? DDJ: King? TOM: Well, James Brown was on there, Hank Bowden; the original twist was on that label too. It was basicly a very heavy soul label out of Cincinnati, Ohio.


DDJ: Did you ever actually spin, yourself? TOM: No DDJ: How did you get into the Mixing aspect? TOM: It started in 1972. I went to a disco out in Fire Island, and I was fascinated by it. I had never seen a place so beatifull, especially around New York. I went to a place called the Sandpiper, and I was totally shocked to see all these white people dancing to soul Music. I thought, my god, there are other people like me wo actually like that stuff and are not ashamed to admit it. Because even in those days, if you liked black know what I’m saying. DDJ: Exactly TOM: I was watching people. When one record was beginning to end, another record was starting. It seemed confusing to me. I noticed that people started to just start to react to the Music when it got to the tag of the song. I watched and watched-by that time I had gotten out of the business for a while because just fed up with it. There was just so much bullshit in it. So, I was just listening and watching just for my own pleasure. I went to the guy who owned the place and said, hey, look, you don’t know me but I would like to try something. Can I make a tape and if it is good would you play it? . He said, alright. I could always play it when the disc jockey wants a break of something. I went home and tried to figure this thing out. Well, eighty hours to do for a forty –five minute tape. But, I wanted a way where people could dance without being confused; and sort of go to one level, then another level, then another level. So I figured out a way-well, they call it slip cuing now. I didn’t do that. I used sound on sound. DDJ: Can you explain sound on sound? TOM: Yes. In other words, the record would end on the third count, and I watched people dance and they would always continue the step to the fourth count and then they walked off. They’ll always finish that step, So I figured i’d come in on three on a record, and I noticed that people reacted to it. I was started to get scared. But the guy loved it. He said, gee, that’s

terrific. I’ve never heard anything like that before. Would you mind making one every week. I said, you’ve got to be kidding-but, I tried. It almost killed myself that year trying to do that. There was a kid there trying to be a disc jockey, named Tom Savarese. I think you’ve heared of him haven’t you? DDJ: We heared of him someplace. TOM: He starts talking to me, and he says, you know, you’re good at those tapes. He says, what kind of turntables do you use?. I said, well only one turntable. He said, what do you mean, how do you go from one record to another. And I explained it to him. He said, I’m gonna learn how to do that live and I’ll be better than you. I said, hey come up to the house. I can appreciate someone trying to improve something, rather than just saying I want to be as good as you. I showed Tom how I did it and he played me some of his experiments in the beginning, and, like all human beings, his were just as bad as mine. I told him stick with it. He said, I will, and he did. He finally was able to do it.

DDJ: This was the First one that was released, actually. TOM: Yes, and it went to number one. It was a million seller. DDJ: That’s for sure.

DDJ: Getting back to. TOM: I’m getting to that. I’m trying to give you these things as they happened. I spoke to Mel Cheren at Scepter Records. DDJ: Who now at West End. TOM: That’s right. I did a little think on a record called “Dream World”. I asked him if I could have a track of it. He said, yeah what would you want to do with it. I said, I want to try something. So, I got the track of it. I put it together. I did a vocal-instrumental-vocal-played around with it like that. They thought it was good. They were going to release it and I said fine. Then I met Freddy Frank there at the office and he had this thing he had in the can by a group, The Brothers Trucking, and I loved that record, it’s so old-fashioned why don’t you come up with another name. I forget who it was, either may James or somebody who said: “well let’s call it B.T.Express”. The record I did was called, “Do It Til You’re Satisfied”. DDJ: So, that was your first mix? TOM: That was the first one that came out. Actually it was my second. “Dream World” was the First.


TOM: And it’s been downhill ever since. With your First record like that, a strange feeling comes over you. I emotionally didn’t really know what to do. I said, how do you follow that? How do you stay up there; it’s going to be difficult. So, by getting involved with “Dream World” I met these two producers called Tony BongliovI and Meco Monardo. They had just come off a record “Never Can Say Goodbye”. I worked for Billboard then, by the way, and they were doing an album. They said maybe you’d like to be involved with us. So I said alright. I had this idea to put the three songs together and they didn’t think it was such a good idea, because they were so geared to 3 minute records for radio-hey, if it’s 3:20, forget it, we won’t touch it. But, I said look, let’s try it. He says, we have nothing to loose because “Honey Bee” was out and it bombed; never can Say Goodbye was just a hit; and Reach Out I’ll be There was the last song. So he said, hey wathever you think, I said let’s call it a medley. And we did it, and, off course, it became a big succes all over the World. DDJ: Right. I remember when I was spinning at the time when it came out, that was the first record that we were able to play at the time to actually take a break with, because once you put it on and got the dancefloor with it, you knew you didn’t have to worry about the dancefloor because you could do anything you wanted, come back, and the dancefloor was still there. That was a blessing. Tom, where do you think disco is going from there? Is it going to be going to funk rock; or go off in it’s own direction; or splitting into different fractions? What’s going about now? TOM: I find, I’m speaking of all my years now, that when there isn’t something new or there isn’t a trend setter like Elvis, The beatles and Elton John, I notice that music always reverts back to soul. Have you noticed that? DDJ: Most definitely.

TOM: It’s almost like as soon as the gimmicks are over and past then the soul Music takes it’s stronghold again. I think it’s going to stay in the soul vein, because, I think the European sound has definitely had it’s day. Even Donna Summer’s new record. I love it, like the hot stuff, they’re starting to Americanize it a little bit now. DDJ: You don’t think the Euro-disco will always have it’s place; that hustle clubs will continue to be a valuable entity? TOM: You don’t think so for one reason, because it’s not create enough. It’s all based around very sterile things. People can only accept so much of it. When you start to get creative with it, then you’re starting to get away from the European sound.

TOM: Yeah. And my brother has a lot of input. Jerry’s been in the record business a long time also-he’s my younger brother. He’s been in sales and promotion. He knows my roots are really in soul Music and disco, so he said, why give it up? You started so much of this, why let it go? I said, because I’m sick and tired of doing the same old thing all the time. He said, then try something different. I said alright, you get me three girl singers that are really nasty, because everybody seems to be doing this sweet soul and nobody really comes up with that real strong type of thing. He got them for me. In fact I’m cutting that now.

DDJ: People are saying that disco is the new pop. Do you agree with that? TOM: To some degree, I still think people relate to lyric. When they first hear a record the melody will always get them. Then it’s the lyrics. How could I really explain that. Well , I think disco is the pop music right now. As soon as people start trying to be a little more creative with it, because at this point everybody is just following everybody else. DDJ: Do you think re-makes of older Music are going to continue, or do we have enough talent and artistry around to come up with new and vital material? TOM: I think so. They’re a lot of people out there that given the oportunity could really change things around. I always have my ears open for new people that have a fresh idea. With my current situation now where I’m exclusively with Casablanca, I’m trying to be more creative. I got very turned off to disco for a long time because I worked so much at it and did so many records that I didn’t have time to be objective, or even breathe. It’s very difficult to be creative six nights a week. I got away from it for a while because I was starting to hate it. I just seemed like the same thing over and over again. DDJ: What made you come back to it? TOM: Because I got involved with a good project. DDJ: Is that Tom And Jerry records?

DDJ: What’s it going to be called? TOM: Loose Change. DDJ: What brought about the switch over from Salsoul to Casablanca? TOM: There are three brothers at Salsoul-Joe, Stan and Ken Cayre. Although each one has a different function all three of them can say they want something changed and it’s changed. It’s the only company I know that puts out five different records of the same thing. If the wind changes, they’ll completely change their whole idee about something. The important thing in this business is the promotion. You can have the greatest record in the World, but if you don’t promote it, it doesn’t mean a thing.


How many times have you heared a record that you couldn’t understand why it wasn’t a number 1 record. DDJ: Daily. TOM: Well, exactly. It’s just unfortunate that people don’t get behind a record. I feld I did a lot of good records for them-even mix-wise-I’ve always tried to come up with a radio record First and then a disco record. But I never forget the elements that make a song, a song, and not just make it disco. I want people to dance to it, but when you listen to it at home, I want it to be a thing of beaty, something that you can enjoy at a low level as well. Like “Dr.Love” by First Choice. I had a heart attack over that record, because it was so frustrating. I had been in the studio eleven hours and finally I said, I’ve never heared so much confusion in a record in my life and all of a sudden, I got these electric shocks in my arms and legs. So I sat down and figured it out piece by piece, by piece on a computer and then I smoothed it all out, finished it and went to the hospital for two days. I had a heart attack. DDJ: No. TOM: Oh yeah, but I figured I didn’t want to die with a record coming out-that was stupid. I’ve done a couple other interviews, and it’s amazing how everyone seems say, “Dr Love”is one of my favorites. And I say, yeah. It was heartwarming. I Guess that’s the thrill of it, too. When people resond to a record-that’s really what I’m about. I love to see people turn on to Music. DDJ: Are you still doing your own mixes, or do you have people doing that for you now? TOM: I’ve never had anybody do that. DDJ: You’re still doing all your own work? TOM: Yeah



















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