Some great new titles are about to arrive soon, including the indemand Gene Van Buren & Janice McClain albums never before released in CD format.

 

Gene Van Buren - What’s Your Pleasure - Preorder

With a voice similar to Glenn Jones, intensive and passionate, van Buren delivered a very strong debut with a mix of soul and funk. Among the fast tracks two fantastic smokers exceeds the rest by a far margin in “Enjoy yourself” and “Rock the house”. Two fantastic songs with so much joy presented in a outstanding mix of soul and funk with the main weight laying on the latter. Buren stretches his voice to the very limit of his ability but it never get out of hand. Buren always keeps the harmony in place and he does it in an excellent way. It’s just sweet, tasty and indisputably awesome soul funk music that will make anyone happy and filled with a spiritual experience! The rest of the LP also includes dens and funky “Action” and likewise funky “I give you good love” with a touching song effort. Buren also manage to deliver three excellent ballads in “When is my turn” (with a short and blissful Toots Thieleman inspired passage), “I love you more (than I hate what you do)” and “One”, all performed with sensitivity and finesse.

 
Janice McClain - S/T - Preorder

Janice McClain is a native Philadelphian and from published articles it seems she was about 16 when she recorded “Smack Dab In The Middle”. Thanks to an artful remix by Larry Levan the RFC 12” single was one of the biggest club hits of 1979. Despite major club and radio exposure a follow-up single and album were not forthcoming.

After a four year hiatus Janice popped up on the Mon-Tab 12” single “Burnin’ Up” in 1984, but without a major label backing it the single came and went with barely a whimper. The good that came out of that was that she met producer Nick Martinelli. He was able to get her an album deal with MCA Records and produced her self-titled 1986 album for the label. The album spawned two 12” singles; “Let’s Spend The Night Together” and “Passion And Pain”.

Pattie Brooks - 2 on 1 - Preorder

Pattie Brooks is an American singer most frequently associated with the disco era. She was born in Fort Riley, Kansas to a military family. Her first break came in 1968 when she auditioned for the chorus on The Smothers Brothers Comedy Hour”. In the next decade she became a sought-after backing singer, appearing on the Bobby Darin Show and touring with, among others Helen Reddy. She sang backing on Donna Summer’s “I Remember Yesterday” album.

Around this time she came to the attention of disco producer Simon Soussan and her solo recording career was born. Her first of four albums on the Casablanca label was 1977’s Love Shook (the album was credited as Pattie Brooks & The Simon Orchestra), and the whole album peaked at #2 on the US Dance Chart. Pattie remained with Soussan and in 1978 recorded her biggest club hit, “After Dark”. This was selected to be part of the soundtrack to the film Thank God It’s Friday and as the soundtrack topped the club play charts, Pattie’s contribution was up there with friend and stablemate Donna Summer’s “Last Dance” as the most celebrated tracks. “After Dark” was the mainstay of Pattie’s second album (now with sole billing) Our Ms Brooks. In 1979 Pattie moved away from Soussan as her third album Party Girl was produced by Bunny Sigler of Instant Funk and Salsoul fame. The result was a far more varied album that encompassed funk, pop and a big ballad as well as pure disco. While the album spawned no huge singles it did include “Got Tu Go Disco”, the title song from a notorious Broadway flop musical. In 1979 Pattie branched out from disco by singing “Close Enough For Love”, the title song to the Vanessa Redgrave movie Agatha. By 1980 the disco backlash had taken effect in the USA, and Pattie’s fourth and last Casablanca offering Pattie Brooks was very much a pop-soul affair, produced this time by Michael “Love” Smith.

LA Voyage - Never Lookin Back (again) - Preorder

Fantastic album from The Broomfield family, also included is the Smash from Aaron Broomfield - I’m Gonna Miss Ya

Glass - Introducing Glass - Preorder

Now available for preorder, The 1983 classic funky album from glass feat john Williams (Mikki Bleu)

Wreckin Crew - Pixie Dust - Preorder

1st time ever on Cd for the classic 1984 Wreckin Crew album Pixie Dust

 The 1st ever Tommy Stewart Productions Compilation, with many rare tracks including Italian DJ Baldelli recurrent favorite track- “Cosmic Funk” and the track that gave a name to several record labels- “Disco Strut”. There are PLENTY of Rare Grooves on this, even more FUNK and early Classic Disco, Now available for Preorder, all Preorders shipped on the release date on the 27/28th July.                                                                                                             We are proud to present to you, our CD liner notes written by Music Historian and Producer Kevin Goins. Read and learn about the tremendous music on this compilation, then go back to our main sales page and listen to the sound samples and do not hesitate to purchase several copies as collectables. 

 

This Tommy Stewart Collection brings together the rare dance grooves of the 1970s & early 1980s created by arranger/conductor/composer Tommy Stewart including tunes that were done with the guidance & input of record executive Marlin McNichols.   This fine body of work is a reflection of the musical influences that inspired not only Stewart but arrangers Gene Page & Charles Stepney as well as songwriters August Darnell & Stony Browder (the co-founders of Dr. Buzzard’s Original Savannah Band) – the late 1940s big band movement that dove-tailed into the rise of West Coast Rhythm & Blues.  Yet, while Page, Stepney & the Dr. Buzzard gang were successful in their efforts, the gold & platinum records seemed to elude Tommy Stewart for a myriad of reasons.

 

TOMMY STEWART

 

Born in Birmingham. Alabama in 1940, Tommy Stewart credits his mother for supporting his early interest in music.  “My mom would carry me into the clubs when I was a child, “ explained Tommy.  “She’d sit me on the bandstand & the club owners let me sing.  I sang with Buddy & Ella Johnson’s band – they had Arthur Prysock with them along with his brother, Red.  The Prysock brothers & I became good friends as I was growing up.  Also, my mother collected records by Charles Brown & the Three Blazers, Amos Milburn & Louis Jordan – the early R&B guys doing the ‘jump blues’ tunes.”  While attending Industrial/Parker High School, Tommy studied the trumpet under the direction of Fess Whatley (who also trained Paul Bascombe & Herman Blount a/k/a Sun Ra). 

 

After graduation from high school, Tommy entered Alabama State University & joined their prestigious dance band, the Bama State Collegians.  Tommy – “The Collegians traveled across the country doing gigs to help raise money for the school.  Our efforts helped cover the scholarships and the payroll for those who worked at the University, from the janitors to the professors.  Our touring was limited to the weekends and we had the choir with us as well.  The school did this because other editions of the Collegians were hired by singing groups such as the Treniers and never returned to the college!  I was grateful for being in the Collegians as a trumpet player as well as director because it helped cover my tuition bill.”

 

In 1961, Tommy graduated from Alabama State and taught music within the state’s public school system.  Four years later, he migrated to Rochester NY’s Eastman School of Music to study arranging & composition – and play a little jazz at night.  “The Eastman didn’t have a jazz studies program when I was there but I did have a gig at the Pythod Club – the city’s top jazz spot.  I played with Charles Earland & Lou Donaldson when they came to town.  Chuck Mangione & his brother Gap had their combo there as well (Rochester was their hometown).  I earned my master’s degree at the Eastman in 1967 – months before Chuck was hired by the school to launch a jazz studies program.”

 

From the Eastman, it was onward to Atlanta, GA for Tommy – where he worked at Morris Brown College doing band arrangements and later on Morehouse College, teaching jazz.  However, teaching was the “day job” for Tommy – during this time (late 1960s-early 1970s) he was working at the Gold Lounge as an accompanist for Gladys Knight & the Pips and the Tams, among others.  In addition, he was part of Johnnie Taylor’s touring band in 1971 and served as chief arranger for a local TV show called “Nightlife South” in ’72.

 

During this time, Tommy was also employed as an in-house producer/arranger at a four-track recording studio owned by Herb Lance & Calvin Arnold.  It was there that he met Ed Walker & Bill Stokes.  Tommy – “Stokes had a script of a proposed movie called ‘The Burning Of Atlanta’.  After presenting the idea for the film, I agreed to compose the soundtrack score.  Since I was also working part time at Cleopus Johnson’s music store, he let me use the band he was managing – which consisted of T.C. Jason (keyboards), Stevo Milner (drums), J.D. Morris (guitar) and Charles Terrell (bass).  After rehearsals and the string/horn arrangements were completed, we were ready to record when Ed Walker invited Johnny Lloyd to our first recording session at the Sound Pit.  Johnny was the regional promotion man for Buddah Records & was really tight with label president Neil Bogart.  The session was doing fine until Bill Stokes had a disagreement with the group & the band walked out. Also, I had to write two more tunes for the project.  So, I composed ‘Vine City’ as well as ‘Down Underground’ for the movie and recorded ‘Buttermilk Bottom’ with Clarence Carter (of “Patches” fame) and G. C. Coleman’s band (G.C. was a member of the Winstons and the drummer on their legendary ‘break-beat’ single “Amen, Brother!”).  After we were done recording the soundtrack, I decided to call the band ‘The Spirit of Atlanta’”.  The album would’ve been successful if two obstacles weren’t in the way – the movie “Burning Of Atlanta” was never made and Buddah’s Neil Bogart (along with label VP Cecil Holmes) left the company to form Casablanca Records – which forced Buddah chairman/owner Art Kass to focus promotion efforts on the label’s already established acts.

 

While Tommy was busy with the soundtrack’s creation, he did meet a man who would help him bring together his musical vision.  His name was Marlin McNichols.

 

MARLIN MCNICHOLS

 

A native of Battle Creek, MI, Marlin fell into the music biz thanks to helping out his father – even though a career in the field was the furthest thing from his mind as a youth. Marlin - “My dad booked music gigs & I helped him put up posters around town for various shows but I was more interested in sports.  I had varsity letters in basketball and golf.  But I did attend many club dates at places like the El Grotto, where Jr. Walker & the All-Stars hung their hats.  I was underage & not supposed to be inside these clubs but I got in anyway!  I heard Jr. Walker play tunes like ‘Shotgun’ & ‘Cleo’s Mood’ in the 1950s – long before he went to Detroit with Harvey Fuqua in the 1960s.”

 

Fast-forward to the mid 1960s – Marlin was a Job Corp employee & was managing a band that auditioned for Motown in 1966.  “We were hanging out on the steps of Hitsville when out came Edwin Starr, “ explained Marlin. “He asked us if the band was any good & would we be interested in being his touring group.  After one rehearsal, the band was hired & became Edwin’s road manager.”  It was during this time that Marlin realized that he was a good “ideas man” when it came to composing.  Marlin – “We had just completed a gig in St. Louis & was on our way to Chicago.  I was driving and as we traveled, I saw highway sign that read ‘Chicago – 25 miles’.  I said to Edwin, “twenty five miles to go – I’d better get to steppin’’.  Edwin jumped up and said, ‘that’s a great idea for a song!’  By the time we hit Chicago, Edwin & I had written ’25 Miles’ – a tune that he performed in his live act for two years before Motown showed any interest in recording it” (writer’s note – that is true, Motown execs ignored “25 Miles” until 1968, when sales manager Barney Ales heard Edwin sing the tune at the 20 Grand & told the label brass that it was a hit).

 

In 1970, Marlin was hired by Atlantic Records to work promotions in the Detroit area. “I worked all genres of music with Atlantic”, explained Marlin.  “Pop, country, R&B, rock – you name it.  I got WCHD radio (R&B station) to break Led Zepplin’s ‘Whole Lotta Love’ before the pop stations got a hold of the record.”   At the same time, Marlin was asked to help manage the Fabulous Counts, one of Detroit’s premiere soul/funk bands. “The Counts were signed to Westbound Records but weren’t getting anywhere with the label,” explained Marlin. “At Christmas time of 1972, the group (which featured keyboardist Mose Davis) had no money to buy presents for their families.  So, I had them cut ‘Mr. Penguin’ and I flew to New York City where I sold the master to Bell Records.  The label released it under the name ‘Lunar Funk’.  Not only did the Counts have enough money for Christmas, they had a hit on the charts as well!  It was a Top 20 R&B hit across the country and even some pop stations picked it up.”

 

By 1973, after a couple of raises, Marlin was offered a key position with a then-new record label in Atlanta. Marlin – “A businessman named Mike Thevis launched GRC Records in Georgia and offered me a job as a national promotion director.  So, I moved down there & brought the Counts with me. Within two years, GRC had a Top Ten hit with Sammy Johns’ ‘Chevy Van’.  Producer Floyd Smith in Chicago wanted to bring Loletta Holloway to the label and we needed an arranger for her sessions.  Floyd had heard of Tommy Stewart through his session work in the area so he came on board to work on Loletta’s sessions”. 

 

By this time, disco was popular on the dance floors around the world and the mainstream public wanted more, more, more (sorry, Andrea True!).  Marlin – “GRC had staff meetings where we’d listen to what folks such as MFSB, Barry White & TK Records had released.  Then, the execs told us that if we couldn’t come up with something as good, don’t bother going into the studio!  So, that’s when I teamed up with Tommy.”

  

 

STEWART & MCNICHOLS COLLABORATE

 

Tommy & Marlin’s team-up couldn’t have happened at a better time – no sooner than they got together in 1976, GRC’S Thevis was jailed for distribution of obscene material (he was one of the biggest producers of pornography in the USA at the time), among other charges too numerous to mention. That meant Marlin had to seek out other labels to carry Tommy’s releases.

 

Tommy – “Marlin asked if I could write songs for his group, the Third World Band.  Since I had already composed tunes with Bill Wright for other artists, I wanted him in on the deal as well.  After coming up with the idea of the bass & guitar playing in unison with other rhythm instruments around it, I taught the band the song as well as the lyrics.  The result was ‘Disco Hop’ and ‘Let’s Boogie At The Disco’.”

 

Marlin – “Since GRC was in trouble, I shopped the masters to labels in the major cities. I got on the plane, flew to Chicago and met with John Salstone of Abraxas Records, who purchased the single masters of the Third World Band.”

 

Tommy – “’Disco Hop’/’Boogie…” was so successful in the dance clubs, Marlin asked if I could come up with more tunes. This time, I assembled a rhythm section that included Stevenson “Stevo” Milner (drums), Charles Terrell (bass), Richard Marks (guitar), Kenny Mims (guitar) and Mose Davis (organ/piano) to cut the rhythm tracks.”

 

Marlin – “I gave Tommy the idea of making an album that would rival anything that came out of Philadelphia, New York, Chicago and even Europe.  Since disco was indeed based on late 1940s R&B and big band music (and I knew Tommy was influenced by that), I wanted to see him create danceable tunes with strong melodies and simple lyrics.”

 

Tommy – “Since the songs I grew up with stayed within a certain happy theme, I based the lyrics on that premise.  Whether it’s being with your girl or guy, going dancing, having a good time – I stayed within those parameters.  No big story-telling, just easy to remember lyrics.”

 

Marlin – “After Tommy recorded the rhythm tracks, we decided to cut the vocals, strings & horns in Memphis.  Tommy loved the way the orchestra sounded on the Stax releases Isaac Hayes did at the time.  So, we booked Ardent Studios, hired the Memphis Horns & members of the Memphis Orchestra for the overdubs.  We also brought in Isaac’s background singers – Hot Buttered Soul – to cut the vocals.”

 

Tommy – “The tunes were ‘Bump & Hustle Music’, ‘Fulton County Line’ & ‘Make Happy Music’, among others that came from the ‘Bump & Hustle Music’ album.  Abraxas Records agreed to release the disc & the Peaches Record Store chain in Atlanta advertised the record on billboards all over the city.  At the same time, we did the Crème De Coco record ‘Disco Strut’, which was making some noise as well.  Crème De Coco was a female quartet that attended Spellman College” 

 

WHAT HAPPENED?

 

Tommy’s “Bump & Hustle Music” album had the goods and the promising release start when it all of a sudden came to a grinding halt.  Tommy & Marlin each had their own perspectives as to why that occurred.

 

Marlin – “Shortly after we released ‘Bump & Hustle Music’, I was hired by MCA Records to work in their West Coast office, which restricted me from doing any promotion jobs outside of the label. Since I worked the business end of things, there wasn’t much more Tommy could’ve done since he was the creative person in the partnership.  No one picked up the project after I left so it languished.”

 

Tommy – “Even with the album being out, I still had to take on other work to support my wife & children.  Johnnie Taylor was riding high with ‘Disco Lady’ in ‘76 and asked me if I wanted to tour with him.  Then after that was done, Millie Jackson hired me to go out on the road.  By the time I was done traveling in 1979, the record was three years old.  I did return to the studio to work with Sherman Hunter as well as the Mad Dog Fire Department. Then, I got together with Stevo Milner on a project called ‘Musica Negra’.  He had a singing style similar to Eddie Kendricks but with an older edge.  Sadly, Stevo was murdered in 1980 and I shelved the album.”

 

EPILOGUE

 

Marlin continued his work in the promotions arena until he formed his own companies Angel Dove Music and Mar-Tel Entertainment Worldwide.  Tommy returned to teaching full-time after producing Martha High’s album for Salsoul Records in 1979 and thirteen years later he moved back to Birmingham.  During the 1980s, DJs in the UK were spinning Tommy’s classic works and by 1996, Ubiquity Records did reissue the entire “Bump & Grind Music” album on CD.  Today, both men are still involved in music – Tommy with conducting orchestras and working with young people on developing their performing skills and Marlin in the Gospel field, writing songs with his wife, Joyce.

 

After listening to this disc, this writer thinks you’ll agree that Tommy Stewart indeed belongs in the same class of musical giants responsible for the great dance music sounds of the 1970s.  His time – and Marlin’s – has been long overdue.

 

Kevin Goins
June 26, 2009

Amery, Wisconsin

 

Sources – interviews with Tommy Stewart and Dr. Marlin McNichols, conducted June 23 & 24, 2009.

 

We would also like you to consider purchasing the companion CD of this collection:

MOSE DAVIS- “The Coming Of Moses”.

It is a superb slice of FUNK, JAZZ and SWEET DISCO-SOUL all wrapped up in a heady Southern stew of uncompromising musical quality.

 

If my post title made you think of Alexander O’Neal singing the words “Pattie, Pattie” in the song “Fake” then, man you’ve got a great head for musical lyrics. But there aint NOTHIN’ FAKE about PATTIE BROOKS.

Pure and Strong of Voice and Tone. Lovely of  face and figure. And at the time of her Casablanca recordings- living in the Shadow of Donna Summer.

But then for a large segment of us- Kiss lived the shadow of Donna too, Parliament? Cameo? The SHADOW KNOWS.

But, Pattie had something else. PROFESSIONAL RESPECT. At the time she was one of the premier (if not THE premier) backup-singers in the industry.

I cant tell you HOW many albums I own that would not sound half as good if Pattie Brooks were not in the studio that day.

Anyway- enough of my gushing. Courtesy of Bernard Lopez (Website owner od DiscoMusic.Com) and Dayna Newman (Our talented interviewer) is their very recent interview with Pattie Brooks in which I play a somewhat funny and humbling background part. And, it explains my signing my posts as “WDC” instead of “DC”.

 

Pattie Brooks

Disco Music > Disco People Index > Artists-Producers… > Pattie Brooks
Pattie Brooks
Interview with singer Pattie Brooks.

Pattie Brooks was a Disco artist signed to Casablanca Records during the late 1970s and is best known for her classic Disco hit, After Dark. The following interview with Pattie Brooks in 2009 was conducted by DiscoMusic.com member Dayna Newman.

Pattie, have quite an impressive list of television and movie appearances: The Smothers Brothers, The Dinah Shore Show, Henry Mancini’s Young Generation, The Bobby Darin Show, Soul Train, American Bandstand, Dance Fever, Johnny Carson, The Midnight Special…

You were also in one of my favorite prison movies “I love all that carrying on” and played “The Disco singer” in The Fifth Floor a prison movie with Robert Englund (of Freddy Kruger fame).

(from here on Pattie Brooks’ responses will be indented right after the questions)

OMG, I forgot I even did that. That was so long ago, that feels like it was another time and another girl did that thing.

No, you did it (both laughing). You were also in Battlestar Galactica one of my favorite shows in the day. Plus one of my favorite cult classics Cleopatra Jones. How was the acting experience for you?

Well you know, oddly enough, I did the singing on Cleopatra Jones and what happened was they called me in to sing Am I Blue. Another girl and I were on stage doing backup, but my voice was being lip synced by Brenda Sykes. So that’s how that all came about so basically I was doing backup to my own solo voice that Brenda was lip Syncing.

Tell me about your work in L.A. before you were working with Casablanca Records.

I was an L.A. session singer so I use to do alot of work with Capital, Motown and everything. I would run from studio to studio backing up on different albums Diana Ross, Helen Reddy, Olivia Newton John… the list goes on. We were session singers… Demos, I would do a lot of demo sessions, so it was that type of thing. Then I got a call from a girl that said you know what, there’s a producer looking for a singer and I had just come off the road with Ann Margret and Helen Reddy.

How were those ladies to work with?

Oh, they were fabulous, Ann Margret was just a doll. She and her mother were the best. Very talented, she had her army around her. She was fabulous.

What about Diana Ross? I’m quite the Rossaholic.

I never really did get to meet her even though I worked on her albums, but I did meet her in passing at Suzanne Depasse’ wedding.

I don’t believe the worst in people until I see it for myself or hear it from a very reliable source.

Me either. Ann, was absolutely the best. I mean and Roger Smith he took care of us when we did the Hilton. I was Ann’s contractor so I would hire the other two singers and train them and get the act together. That’s basically what I was doing. I was even Donna Summer’s back up singer before I got signed.

I did back up for Jermaine Jackson, King Harvest… there was a bunch even Barbra Streisand. Later on in 2004 we did a democratic convention here at The Kodak Theater, that was the last time I worked with Barbra. I got to see her again with Mr. Brolin.

Oh really! How was that?

Oh it was wonderful and David Foster was the musical director at the time so it was really really nice.

You have had a very exciting life.

Well you know in and out of a lot of different people’s projects including my own for what is was worth at the time.

Plenty, Plenty! (both laughing). That’s why I’m interviewing “you”.

At that time Casablanca was “THE” label to be on.

I have some questions from members from DiscoMusic.com so don’t hold me responsible (both laughing). On the real, we have very knowlegable members, I was just kidding.
One DiscoMusic.com member, Donald Cleveland, said that one of the main reasons he got into the music business was to date you, he said it never happened to his dismay.

Who is Donald Cleveland?

(both laughing) Girl he’s a DiscoMusic.com member and he’s somehow in the business I can find out, I don’t know if he’s cute or not, but he’s a gentleman (both still laughing).

Pattie Brooks:
The name escapes me, I’d have to see a face or something.

I know that’s right - or a body (both laughing again) No offense Donald… (We’re not laughing at you, but just giggling like girls do about men), and he wanted me to tell you that you are eternally beautiful.

Ohhhhhhh well, tell him I said thank you.

Reading you saying it will be enough for him. Another DiscoMusic.com member, DiscoFunk, wanted to know how it was working with Bunny Sigler on the Party Girl LP?

That was hilarious. First of all, I don’t even know why they put me with him it was so far fetched that I would be with Instant Funk and Bunny Sigler. It wasn’t the right producer, it could have been, but I don’t think he really knew what to do with me. But he was funny I tell ya. I laughed the whole time we were doing Party Girl and all those songs off that album. Some of those songs really had potential. They just needed to be worked a little more and promoted. The thing again is promotion. You can have the best voice and the best producers, but if the company doesn’t promote you, you can forget it.

I agree promotion is SO important that will make or break an artist in most cases.

Before Thelma Houston went into Disco I used to back up on her other albums that were more R & B over at Motown and she did this great album I forget the name of it, but it was myself and two other girls backing her up and the next thing I knew it was shelved. You know that’s what they do. It was a write off and a lot of us were like write-offs at that time and that’s how it went. Unless you had the big guns behind you it was really hard to get your product out there.

Thelma is such a sweetheart. Another member from DiscoMusic.com, Cory, wanted to know who wrote After Dark because he has two copies and on one copy the song is credited to Simon and Sabrina Soussan and the other credits you as the writer?

“Pattie” pronounces the names of Simon and Sabrina Soussan correctly “very french”

(both laughing) You can tell by my Scarlett O Hara accent I’m just a southern girl french isn’t my strong point.

Sabrina wrote the lyrics and she was the wife of Simon at the time. Unless I through in a “the” or a “This” or whatever and they said lets give her credit for it, I don’t remember that. If that’s the case we’re still looking for him because he hasn’t paid anybody! You know how that goes.

Do I ever, if you have ever read any of my other interviews you will see how hard I call all that shady business out! In 1977 you were signed to Casablanca did you like working with Casablanca and was it at all like a family like I hear some record labels are?

It was for certain people you know. I was kind of removed from them I mean we were and we weren’t. I had my children at the time so I kind of distanced myself from them because they were so eclectic and crazy and so risque so I would kind of stay to myself and do the mommy things, but when I was on I was on. Whenever they had me on TV or all of the shows I was there. Soul Train all of them, I wasn’t really, really close to any of them when I think back. I knew them all and we were cordial, we had a good time, but I never really hung with them.

Did you get along well with Neil Bogart ?

Yea, again it was very cordial With Neil and Joyce Bogart, and because of Donna Summer I had worked for Donna, for Casablanca before I was signed so I had that kind of relationship.

When Donna Summer was on Soul Train and sang Winter Melody was that you in the middle of the back up girls?

Yeesss, with those crazy wigs on.

I could tell that was you by your pretty face. Does being called a Disco Diva in any way make you feel pigeon holed or do you see it as a compliment?

A little bit of both. What was funny was before I got signed I didn’t even know what Disco was because I had been traveling like I said with Ann Margret, Helen Reddy and all that here in L.A. I had been singing with different bands, R & B doing covers you know and doing the demos and I didn’t know what this whole Disco thing was until Simon introduced me to After Dark and he told me they were going to put it in the movie Thank God it’s Friday, and After Dark it was a club hit, it got played and it still gets played on the radio now. The black R & B stations saw it as Euro Disco or club music so I never heard it on black stations, because it wasn’t R & B.

I would hear it on the pop stations.

Yeah I would hear it there and then of course when the dance radio started you would hear it. I heard it the most in New York, Miami and San Francisco.

I use to hear it on the only urban station we had in Tampa called WTMP a small AM station so I think it depends on what DJ is spinning and if they like it or not.
Let’s face it back then a DJ could make or break a record in some cases especially if you lived in the boonies.

That’s true, and at one point the DJs were bigger star than the artist. Look at Jellybean Benitez and all those people that came through.

Right look at Frankie Knuckles, Larry Levan, Little Louis Vega and so many more.
Bernie the owner and administrator of DiscoMusic.com wants to know how it was working with Simon Soussan and Alec R Costandinos?

Oh Simon was very erratic.

Call it out girl, don’t be shamed, Call it. (both laughing)

Musically, Simon had it all in his head. He wasn’t one that had it written out so it was always jumbled. He would be sitting there dictating to the musicians what he wanted. He loved strings so it was all about his arrangement with the percussion and the strings that’s why there’s a big percussion break in After Dark and then there’s the strings the sweeping strings everywhere. It’s just crazy. He would just go with it and do his thing and of course the guys were all mad at him because a lot of times they weren’t getting paid. They had to really go after him to get that money, and even to this day people are looking for him.

He sounds like he doesn’t need an umbrella when it’s sunny because he serves up plenty of NATURAL SHADE! (both laughing) What about The Mr Alec R.Costandinos?

I didn’t have that much interplay with Alec because he had that other group Love & Kisses. He’s very, very nice, I was in New York once and he was at a recording studio there doing a theme for a movie, but he was very, very nice.

Next is a question from my personal Moose, haha, Stephan L.Freeman another DiscoMusic.com member who is a great DJ / remixer who has worked with some great artists, he wants to know how you felt when the title for the film After Dark was changed, just after filming began, to Thank God It’s Friday and were you aware that you had recorded, what was the original title-track for the film?

Now the way I got it was, I went in to record After Dark and that it was going to be the number one song on the soundtrack. Simon again, I don’t know what his dealings or anything were, That’s what I heard it was supposed to be the featured song.

See Stephen surprises me with the knowledge and things he knows and to his “credible” knowledge that was suppose to be the name of the film.

Oh see now I didn’t know that. He probably knows more than I do.

Girl, he knows a lot more than most people will ever know. This is a quote from Stephen (Manny Slali & Bob Stone’s remix of “Heartbreak In Disguise” is, in my opinion, the quintessential American Disco record for 1978. And a stellar example of Pattie’s vocal talents.) (I’ve just finished writing a small piece about it, since I’m featuring it in Episode 3 of “Back To Music”) That’s a radio show Stephen has on live365.com on Discoteria radio. A station that Bob from the site created.

So is that going to be on the Internet?

Yes, it’s on the internet. I will get the details as to when it will be on and let you know. Stephen also asks: if you had as much fun, recording Take Good Care Of My Baby / What’s A Girl To Do?, with Paul Jabara, as it sounded because your Guest Appearance on that track, took it to a whole other level, bordering on comedic theatre?

Yes, it was. Well everyone that knew Paul Jabara knew he “was” comic theatre and we had a great time with that. As a matter of fact, we performed it on American Bandstand. I don’t know if that one comes up because Dick Clark is so funny about his archives. It was Paul and I we did American Bandstand and it was just hilarious it was his brainchild of how he wanted to do Take Good care of My Baby.

So was he really that quirky and fun?

Oh, very quirky and so much fun. Paul Jabara was a lot of fun and very creative.

Bob From Canada, also a DiscoMusic.com member, wants to know what it was like working with Donna Summer?

Magnificent, she was kind of tentative at first, but when they first called me to help her I guess she had been living in Germany. She came here and had her daughter Mimi with her. I got the other two girls and Michael Peters was the choreographer and we did her first show and she just blossomed. I remember she was always not embarrasssed, but shy about the Love To Love You Baby image which was very sexual, and she was funny she is a very funny girl. Finally when she got to really sing was when she did MacArthur Park and she called me in one day and I heard it and I said OMG you wanted to be heard… this is it girl, it was just fabulous and from then on you know it was just like whew, because she has this powerful voice.

DiscoMusic.com member, Remicks, would like me to convey to you that when he listens to I Feel Love he heard another female’s voice on the track almost as strongly as Donna’s… mirroring Donna… as far as he’s concerned you both shared that vocal?

Is that what he said?

That’s what he said girl.

OMG, It’s been so long ago, we did the backgrounds and I know I was probably singing right along with her because I had the root of the chord so I probably was mirroring her.

Another DiscoMusic.com member, Thom, wanted to know how you felt when you heard your tracks being played in the clubs?

The first time was with Marc Paul Simon and as we walked in I heard the music and the people were screaming and carrying on. I went what the heck? Then they had me walk up a catwalk and and I had on these Charles Jourdon heels, I could hardly walk over this grated kind of floor in those heels.

Don’t be shamed honey, Anybody who knows designers or shoes knows you will NEVER find a pair of Joudons at Payless. OK? (both laughing) You probably had on some Norma Kamali fashion too?

I had on something very draped with a plunging neckline. It was a jumpsuit. Then they said let’s go meet the DJ so as I went to meet the DJ a spotlight hit me right in the face and he went Pattie Brooks and the people were screaming I was like what In the world? Because I had never been to a club before. Of course all the boys were just GAGGING?

L.O.L., now you know that’s a good thing when the boys gag that means your letting them HAVE IT! What club was this?

Club One, Oh they were having a ball and I had no idea, They put a microphone in my hand and I started singing right there.

Let’s talk about After Dark. Easily one of the greatest Disco songs of all time. Do you still have a passion for this song and does it hold a special place in your heart?

Oh yes, I think it came through at a time we were all having a lot of fun, I mean there will never be another time like that again.

NEVER

Anybody that was around for the experience will tell you It was just a fabulous creative wonderful time. I remember going to Fire island and hearing After Dark on Fire Island.

OH girl I bet you never saw so many fine men in one place in your life.

Oh girl, I’m tellin’ ya, it was just unbelievable and when I did my show in New York I mean After Dark was like the biggest thing going, and I really didn’t realize till years later because my heart was doing R & B and more funky kind of stuff and that’s not what I was given… I was given After Dark. I love jazz too and people would be like I had no idea you could sing jazz because you did Disco. It’s because Disco was light singing,it goes again with being pigeon holed. Look at Aretha Franklin when she did opera when she pulled off that opera Aria I mean if you have a voice and if your inclined to sing anything, you can do it.

I know you have worked with and probably toured with a lot of artists as well can you tell me who you really loved working with and was there anyone who you didn’t shall we say “care for”?

They were all basically nice people. They all had their little quirky things that made them, them. Ann Margret was great. Helen Reddy was a aloof, but she had Jeff and she was into her own world. Donna was fine… she was funny, she had her daughter and all the crazy people around her at that time.

Have you ever performed at the Copa in ft Lauderdale?

I’m pretty sure I did. I was there when Divine was booked as well. I remember her and Marc Paul Simon the boy wonder of Casablanca that’s what I call him.

The shows at The Copa were always so late… Who was Marc Paul Simon?, I mean what was his job title?

He was over the Disco part of the label and special promotions. I guess this was towards the end of the Disco era. He did get his own label called Earmarc. So Marc would travel with me, he was over my show that featured all the songs from my albums and like you said before It was late, late at night. Here and Atlanta, San Francisco, Canada and Puerto Rico.

Well girl as the song states “The Freaks Come Out at night” “both Laughing.” Did you like the movie Thank God it’s Friday and did you get any royalties from it?

(A bit hesitant) Um yeah, when I look back at it, it was definitely timely you know for It’s time. As for the royalties, let’s not get into that.

As Jerry Springer would say: That’s a whole different show (both laughing). If you could be transported back to any day of any year for any event, could you think of one that really stands out that you would LOVE to have a Deja Vu affair with?

Studio One, The one woman show there, that was my introduction to everybody… people from Motown… everybody was in the audience, Donna Summer was there. It was really a star studded evening. I really got to do my own show in California. Where “the Children” are as you say “me LMAO” The Studio One Back Lot. They had there own show area, they had fans with my picture on them. The tables had candles and there was thunder and fog I think I came out singing Love Shook so that to me was a highlight and it was written up and I got really good reviews.

You and Randy Crawford worked together if I’m not mistaken do you still keep in contact with Randy?

Yea, In fact we worked with Jaye P Morgan.
Jaye P was a wonderful singer. She was on Johnny Carson one night and she sang You Can’t Hide Love and she did a jazz version of it it was fabulous.

I mean if she had you and Randy Crawford backing her she had to be good. If you girls were her backup I’m scared a her” lol… Are you still in contact with Randy?

No, I was in the store shopping one day and I heard someone say Pattie and I looked up and it ws Randy. She had been in Europe, she does a lot of stuff in Europe. And Jaye P, the last time I saw her was at the Catalina bar and grill it’s a jazz spot here. Jaye P Morgan is the lady that taught me the most.

REALLY?

Yes, she didn’t let ego get in the way, she let Randy have solo’s and myself as well. She was that confident in herself that she wasn’t worried about how we sang and that really taught me a lesson. I haven’t heard from her in years, but I would love to.

How did you get your start in the music business, who do we have to thank for that?

Oh Boy, I’ll break it down to you real fast. I saw an ad in the paper… there was this local coach Basia Maxwell. I was over here in Hollywood so I went to her because I was working as “get this” as a PBX operator “laughing” I went to see her and she said: “you need to be doing something right now.” and Philamina Smight said there was an audition for the Smothers Brothers and I said what do you do on an audition. I had never been on one before. She said just go there and sing a song. Little did I know I go over to CBS and there’s Nelson Riddle the famed musical director for Frank Sinatra and everybody else had his band down in his room and the guy who was doing the hiring for the show said just sing a song.

I sang one of my mothers favorite songs and he said smile, then he said “You’re hired.”
I went WHAT! and I imemdiatly quit my job and started working for the Smothers Brothers.
Then from there it snowballed into working with Henri Mancini and I was doing a lot of jingles and commercials on TV and radio.

Our Miss Brooks is a timeless enduring album, it’s now a piece of music history. How happy are you that you went on that journey?

I’m very happy, it’s my past. What’s funny is I use to watch American Bandstand and I would say I’m going to be on this show… and lo and behold my path led me to American Bandstand so I really feel that everything I set out to do I have accomplished.

Not many people know that your daughter Yvette Barlowe was one of the Mary Jane Girls responsible for such hits as in My House and Wild and crazy Love. How proud of her are you?

Oh I’m so proud, because she was the youngest one and Rick “James” had called me and asked if she was ready and I said sure, try her out and see, Let her try it out and do it and let her spread her wings.

Last question, How do you keep yourself looking so young and sexy as us girls with inquiring minds want to know?

Keep the stress away, get plenty of sunlight, take care of your body and it will take care of you. Your body is a temple and treat it as such that’s the key.

Pattie thank you so much I have had so much fun and learned allot as well.

Oh Dayna thank you as well and I cant wait to read it.

To see and hear more of Pattie Brooks, please go to the official Pattie Brooks website or her MySpace page.

Interview by Dayna Newman of DVA Music

About the author:
Dayna Newman is a disco enthusiast, former booking agent. She is also the creator of DVA Music, has done graphic work for many old school artists and proud member of Disco Music.com. A big thank you to Dayna for all her hard work and willingness to conduct and write this wonderful interview with Pattie Brooks. Of course a big thank you to Pattie for being so generous with her time.

Please feel free to link to this page by using this URL:
http://www.discomusic.com/people-more/14193_0_11_0_C/

Pattie Brooks is at: http://www.pattiebrooks.net/

Dayna Newman is at: http://www.myspace.com/dvapromotions

 

He died.

The number one Soul Music Superstar died during Black Music Month.
A heart-attack they say. All I know is I feel sad, and my girlfriend is damn-near inconsolable.
I’ve fielded phone calls from people. Made one to my son who when he was a child-thought that Prince and Michael were the same person. Not even close. Stones/Beatles. White/Hayes. Jackson/Prince. Flair/Hogan. Each pairing had their similarities and their differences.

Wanna know the difference? Michael Jackson was the STAR. The ENTERTAINER. The pre-TMZ headline when Harvey Levin was holding a microphone on the street for People’s Court.

Michael was IT. Michael had IT. Michael moved LPs. When VHS & Beta were nascent formats, Michael made “Thriller” and helped grow an industry. I don’t what else to say.  Michael helped build MTV too…even though at first they didn’t want him. He’s 50 years old. It aint fair.
I’ll play some CDs to help remind me of the better times.

We at Funkytowngrooves as a company will miss you.

Me- Donald Cleveland, the man who spent his first record money at age 10 on a copy of The Jackson 5 “The Love You Save”, I will miss you too. Just that little bit more.

 

So, imagine you are the “new hire” at a record company. You have always LOVED that one Cliff Dawson lp. You know the one that was so great they released it TWICE with the same cover, but a different title?

You got lucky, you did. You did some freelancing for a company years ago and suggested they reissue Cliff Dawson “Cliff who”? They asked.

“On Boardwalk records” I answered, confident that they just needed to be reminded.

“Boardwalk who”? They responded. Oh just great. Well at least they didn’t get stuck on who Cliff Dawson was- they just didnt know anything.

Another time, I produced a wedding songs CD. Cliff was on my “lets get this track” list. “Cliff who”? they asked. “This fantastic duet with Renee Diggs of Starpoint” I responded. “Yes! Starpoint! Secret Lovers, love that record!” they responded. At that moment I felt like the new guy in prison. Everybody here is stupid and violent and no matter what happens? Everybodys gonna get fucked.

I opted for easy prison time. I bent over, clenched my teeth and removed Cliff Dawson from my list.

Flash forward a few years. I’m now working for FTG. And we are gonna license CLIFF DAWSON. Even better we get to combine the 2 lps and fix the idea that one version has the duet with Renee Diggs “Never Say I Do (If You Dont Mean It)”, and the other version has the boogie slam-dunk, funky-jam, ”I Can Love You Better”.  The Great Universal Catalog A&R Harry Weinger once taught me that in producing reissues “all the mistakes have already been made”.  THIS PROVED IT~! The error that Boardwalk made in 1981, because we had already seen it- well in 2008 we could FIX IT and do it right!

You know the TV show “LOST”? I’m the LOST guy. Our company is in the UK. Our owners Anthony Calvert and Matt Murphy are in the UK. Me? I’m on the island of New York. 5 hours and an airplane ride away. But see…CLIFF DAWSON lives on the island, too!

And one of the things I had been trying to do during the production of the Cliff Dawson CD was interview the man. I knew people that knew him: George Littlejohn of Purpose Music and legendary producer, remixer, songwriter Paul Simpson. But I didnt know him. Paul got Cliff to call me….two weeks AFTER the CD had gone to production. But still…Cliff called ME. I’m not so jaded that I dont excited over the prospect of a recording artist calling me, because I do. I was jazzed. Tony was jazzed. We made the appointment to talk face-to-face, and by the time he got here I should have the CDs fresh off the presses.

So, then in walks CLIFF DAWSON….

Immediatly I curve my spine in deference. Cliff looks like his album cover, just with dreads. Remember the album cover that came out in 1982? The smiling face, the trim body? It’s the same guy. The EXACT same guy. But it’s 2009. TWENTY SEVEN years later. The man is is not a man, he’s a GOD. He’s ripped, cut, trim and buff.

I thank god that my soon to be wife is not here. This could get ugly. Meaning ME in comparison to The God that just walked into my home. And he can sing, too? GAME OVER. GAME OVER. GAME OVER! ABORT ABORT ABORT!

Luckily my system kicked in and began to replace some of the testosterone that had drained from my body. I straightened my spine (only a little), and we began to talk………

Why are there TWO different versions of your debut LP?

The finished song ”Never say I Do” got to Ruben Rodriguez the Boardwalk A & R executive around the first or second week the album was released, he loved it so much the Label decided to pull the Album and include it. It was going to be on my album or the next Starpoint album….and I won.

 

Did you know that the song ”I can love you better” that Boardwalk removed to make way for another track “Never Say I Love You” was becoming your signature song in the U.K.?

I had no idea the song “I Can Love You Better” would become a hit in Europe, musician friends of mine would call me and say you got a hit in Europe with that song that they took off the album. I only regret not doing the Overseas tour that was planned with Starpoint at the time, that was one of the fun tunes to play.  

 

No performer comes from “nowhere”- besides your fantastic songwriting pedigree, were you part of any groups or bands early in your career?

For sure, I was lead singer for a band called Pleasure House of Detention which then went on to change it’s name to Zenith. They did one Album for CBS. It was with those guys that I really got my singing and writing chops together. Dexter Daley, Tito Pediford, Dave Revels, Terri Burrus, Jeff Medina & cast  

Why was there no immediate follow-up to your Boardwalk LP?

Actually there was supposed to be a follow up on Motown. After Neil Bogart the head of the label (and the legendary head of Casablanca Records and Filmworks) passed suddenly from Cancer my manager at the time- Lionel Job pretty much had a deal in Principle with the Label. The songs were written and ready to go, then we got the news that Motown was up for sale and the deal was pretty much off………To this day when I listen to those songs I think about how good the second album would have been. At that time I’d met and became good friends with Jolyon Skinner writer extra-ordanaire who penned hits for Jonathan Butler, Billy Ocean, Joe, Freddie Jackson (to name a few) and we wrote most or all of the songs with Marvin Ennis & Dave Revels. I’m seriously thinking about releasing those songs.

How do you feel about your career? Any Highs? Low Points you care to discuss?

Like any new Artist I was dissappointed in not following up with a second album. I truly wanted to be a “Serious Performing Artist” and be around for a while, then I met Super Producer Keith Diamond- started hanging out with him- and was bit by the writing bug~! I got signed as a writer and basically dissapeared into the background.     

 

Was there a performer you wanted to collaborate with, but did not have the opportunity?

Absolutely~! When I was out promoting my album I met the BAR-KAYS  in Memphis. They were big fans of my Album and I was hoping maybe sometime we could do some work together, considering I was a big fan of Otis Redding (with whom they previously played), plus they were amazing funky players with a great, cool show.  

You came around in the middle of a pivotal time in music- things were moving from more organically based instruments to keyboards and sequencers- how did this affect what you wanted to do with your music?

Like everybody else at the time I jumped on the sequencing and drum machine bandwagon. It’s a great tool when songwriting- you can flesh out songs- changes and instrumentation on the cheap. All it took was one hit song with that sound and everybody including the Major and Independent Labels at the time wanted that sound. Then you had people making “hit” records and getting deals who weren’t really that talented. It was all the production tricks. It was a pretty frustrating period for me as a musician. 

 
Do you realize just how many people WORLDWIDE care about you as a performer and wish you would do another solo project?

As time went by yes I started to realize the effect that Album and my music had on people all over. Once again, friends would call and tell me about articles and pieces they saw on the Internet. Two years ago I did some vocals and helped write a song on a CD my good  friend guitarist Carl Burnett was producing on this Trumpeter Brad Clements. He happened to run into a review of the Album done by a site in Europe called Soul Express in the review the writer who apparently was a big fan of mine spoke about how good it was to hear me sing again and that he wished I had sung lead on some more of the tracks. I did manage to track him down and thank him, and yes there’s a new project in the works and lots of new music, you can check me out on my myspace page and my new web-site to be launched pretty soon.

Who are your friends in the industry- past and present?

Past: Keith Diamond (R.I.P.) Present: Jolyon Skinner, Marvin Ennis and The Brothers from Starpoint, Preston Glass, I know and have a great relationship with James Ingram, Dave Revels-good friend and amazing songwriter, Carl Burnett- guitarist extraordinaire, Bob Baldwin……

What have you done in the industry that might surprise some people? (Inclusive of the “what have you done lately queries”?)

My production and songwriting.  I think what would surprise a lot of people is the songs that I’ve had a hand in or produced that were recorded by major artists: Ann Murray, Jennifer Holliday, Five-Star, Starpoint, Pieces of a Dream, Sarah Dash and Kashif.  I have done Off-Broadway plays in New York City and some singing in Las Vegas musical reviews.

What are your favorite performers past and present?

Marvin Gaye, Donny Hathaway, Luther Vandross, Bob Marley, Isaac Hayes, Phyllis Hyman, Levi Stubbs, James Ingram, Stevie Wonder, Babyface, Joe, Jonathan Butler, Kem, Michael McDonald, I basically love the Motown, Stax and Philly eras and a lot of the old blues singers.

So now there was nothing to do really except bid Cliff adieu. I got him to sign some of our CD’s for us, and both versions of the Boardwalk LP. I even got him to autograph my original “Somehow” 12″ on the Half Moon label~!

Flash forward about two months later. Tony & Matt come to NYC. We do business and we meet Cliff and take him out to lunch. While talking to Cliff in the car he starts to sing one bar of a song. We 3 squeal like schoolgirls at a Justin Timberlake concert. Life is good for the guys at FTG….and getting better every single day. 

(In fact, we got some more “Englishmen in New York” posts coming soon by Matt & Tony.)

 

 Interview and transcription by WDC

Preface: I was looking across the ‘net for some chatter about our label- good,bad or indifferent- and I came across a few sites offering our CDs for free. Not as direct links but in the new so-called “private” manner- you know where blogs write about a CD but tell you to send your email address….THEN they will send you a link? I don’t hate bloggers. I think some of them do not have it quite right as to how they do business….but then I understand that love of music drives most bloggers. I respect those who love music. I also understand that a subtle “fuck you record companies” drives some bloggers as well. I hear you, and I understand why.

Now I ask you to hear me…..

Hello,
This is not one of those lousy legal letters…far from it. I strongly believe that record companies have NOT served our Soul, Funk & Jazz audience PROPERLY over the last 25 years. There are CD reissues which should have been done 20 years ago that have STILL not been done.
I ran across your “blog” of our CD release TS MONK “Human” and it bothered me. Why? Not the “stealing music” reason…that’s crap. Record companies have screwed us over so much that if we can SHARE what they are not giving us, then to quote Stevie “All In Love Is Fair”.

But this is NOT FAIR.

We are a small reissue company.
We only press between 1000-2000 copies of any titles.
We are not getting rich.

Your action only confirms why.

I could see if this was a case of “these guys are scummy, they deserve it”.
But hell, we ARE putting the stuff out. We take it so seriously we put bonus tracks…BRAND NEW ones in the case of this particular album and then you just….give it away for free like this.

Do you know why file-sharing and blogs started? It was the average guy or gal who was angry at the record companies never releasing things…and the lucky ones who had those mint condition lps would SHARE the unavailable music.
But that was then.

Kids and others who should NOT have computers GOT them.
They subverted the meaning of the fileshare as a way of providing what was missing to a “fuck it, lets put it out” mentality.

Which camp do you fall in?

I could simply say “well everything he seems to offer is on CD so he just does not care”.
But I KNOW that sharing music is an act of love. I GET THAT.

But damn, do you want us to go out of business? DO you care that YOUR ACTIONS could help put a small company out of business that is doing EXACTLY what you want: putting out unavailable soul and funk GEMS?
To quote Michael Jackson…it’s “Man In The Mirror” time. I’m asking YOU to make a change.

Are you up to it?

Please, if you know a blogger who has one of our CDs on their site….show this letter to them. Help us continue to put our rare music legally. We already know the majors do not value the deeper parts of their catalogs the way they should. So help us out? THANKS.

WDC

We at FTG are proud to present our brand new blog. We will talk about Music, Politics, Travel, Hook-Ups……….nah.

We’ll just keep it at MUSIC.

The beat that makes us go “Uhhh” and or “Boom”. The vocals that make us tear up a bit…or send a chill down your back. MUSIC. That flute solo that made your body radiate….MUSIC.

First things first is that we are putting out some REALLY EXCITING things over the next few months. Or they may bore you. Yeah…I can see you falling asleep over the possibilities of Expanded Versions of Dutch Girl-Group MaiTai or The Cool Notes with 12″ bonus mixes and album tracks. Or getting drowsy over the prospects of our Mirage 3 compilation with those STUNNING System mixes (Pleasure Seekers and I Don’t Run From Danger), and the mind-boggling combination of Leon Ware and Maurice Starr on the Spinners’ (Detroit Spinners if you are reading this in the UK)- “Show Me Your Magic”.

 http://www.funkytowngrooves.com/Pre-Order-CDs/58/Mirage-Records-Mirage-Soul-and-Funk-Collection-Volume-3/2794

Coning soon is what is very rarely done. An archeological dig of a SOUL GROUP.  In this summer movie season of “X-Men Origins: Wolverine” we get a look at the makings of a hero. But what about the makings of a musician? Where are OUR origin stories? Did they just spring from nowhere? Were they fresh out of high school? Were they in a band featuring future soul and jazz SUPERSTARS that never released an album? Were they shot 9 times? Were they Sexy? Were they Sassy? Were they Sassified? More on this developing story to come soon………. but if you’re SMART you’ll just head over to the link below………

http://www.funkytowngrooves.com/Coming-Soon-Reissue-Titles/55/The-Sass-Band-Sassified/2797

written by WDC