{PARAGRAPH}Inshe was recognized by the Boston Globe as an "artist to hear," along with Lake Street Dive, Haim and other notable names. Shortly thereafter, she released her debut, self-titled EP and has been riding that momentum ever since. The musical partnership between Alasdair Fraser, long regarded as Scotland's premier fiddle ambassador, and the sizzlingly-talented Californian cellist Natalie Haas may not seem an obvious one, but the duo's dazzling teamwork, driving rhythms, and their shared passion for improvising on the melody and the groove of Scottish tunes has helped reconstruct and revive the Scottish tradition of playing dance music on violin and cello. They have toured internationally for over twenty years, wowing audiences at festivals and concerts worldwide with their unique sound and have released six critically acclaimed and award winning albums along the way. Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. Her brash and clever electric guitar playing is something to see. Her singing voice is truly unique —clear, cool, and collected. Over the last 20 years, she has performed around the world, released 10 full length albums, and written for film, television, and theater, all the while refining her distinctive and challenging mix of American musical forms. The band formed in and has seen a revolving line-up throughout their decades-long career. To date, their catalog features six full-length albums, several EPs, singles, compilation tracks, and live recordings. On March 1st, they released Emergency! This marks the band's seventh full-length release. Spouse will be touring de the Northeast, supporting their good friend and occasional collaborator, Erin McKeown. Though lushness is the word, in these recordings is also apparent a sense of alchemy and disruption, cinema and remembrance. Listen for sampling keyboards, digital reverbs, and synths that sound like birds. Sir Orfeo is the dramatis-persona played by Max Wareham, who learned his trade serving as contributing songwriter to cult classic Cousin Moon, road-dogging as bassist in psych-pop outfit Sun Parade, studying jazz in the conservatory, digging holes on a horse farm, rambling, and touring as an opener and personal driver for British folk legend Martin Carthy. He also lives an alternate life as a bluegrass banjo player and performs with the Peter Rowan Bluegrass Band. But for a songwriter, such an appraisal is a call to action. Mary-Elaine Jenkins is a Brooklyn-based songwriter, singer, and guitarist. She is currently working on a new record. Steve Forbert is one of the few artists who can mesmerize a crowd with nothing but a distinctive voice, an acoustic guitar and his trusty harmonica slung around his neck. Now twenty-five years into his storied career, Cleaves' songwriting has never been more potent than on his new album, Ghost on the Car Radio. The characters in Slaid Cleaves' songs live in unglamorous reality. They work dead-end jobs, they run out of money, they grow old, they hold on to each other or notand they die. With an eye for the beauty in everyday life, he tells their stories, bringing a bit of empathy to their uncaring world. Robbie Fulks is a singer, recording artist, instrumentalist, composer, and songwriter. Plans, recordings, and momentum were building towards what looked like a breakout year, but had other ideas. Once it became clear the world will continue to spin, they returned to the work they began in and decided to name their collaboration Cloudbelly, after a bird-friend they had known. They can generate power. They last nearly forever. They can help you find your way. They can make things stick or slide. Magnetism is what allows life to exist on this planet. And magnetism is the best way to describe the intuitive way Cloudbelly creates. Things just line up. You can trust magnets. The world may already be strange, but it is surely getting stranger. Cloudbelly hopes, as all who create must hope, to chart a course through the strangeness they can walk with eyes and hearts open. Though Cloudbelly operates as a duo, they are just as much a product of a beautiful web of collaborators and friends who grace their recordings, offer support and inspiration. Living and creating often go hand in hand in Western MA, a region as bursting with creative genius as it is overflowing with kindness. Jake Manzi is a Massachusetts-based singer-songwriter. After years of touring festivals and clubs in the Northeast, Manzi presents his debut full-length record, Whatever My Heart Allows out May 7. Raised in Western Massachusetts, his unique brand of soft rock has earned him significant acclaim, sold-out hometown shows, and opening slots for Lori McKenna, Ryan Montbleau, Chris Collingwood, and more. Whatever My Heart Allows is a sweetly confessional union of soft rock and indie pop, the story of someone growing towards a deeper understanding of themselves. He is currently writing an album that is going to be totally awesome. Maybe that's where the confessional song cycle ends, for she has midwifed these eleven new songs in careful collaboration with other souls whose struggle is urgent, immediate, and palpable. And none are about her. On the heels of her debut album Red Rescue, hailed by many as one of the top Americana albums ofJaimee Harris does not disappoint with the release of The Congress House Sessions, a thoughtful, intimate EP with stripped-down recordings of some of her most requested songs. Tickets purchased for the original date will be honored. Peter Wolf has been known for decades as the dynamic lead singer and song writer of the J. Best known for her stop-you-in-your-tracks voice, Liz Longley is an accomplished singer-songwriter based out of Nashville, TN. With her deeply emotional music, Longley has earned accolades from some of the most prestigious songwriting competitions in the country, including the BMI John Lennon Songwriting Scholarship Competition. Longley became the 4 most funded solo female musician in Kickstarter history - a story covered by Billboard Magazine. Most of the record's dozen songs were co written by Prophet and klipschutz, his longtime collaborator. Together, they recall the melancholy wonder of their native Bay Area, a land that, to the acclaimed songwriters, represents the hope and despair that makes rock 'n'roll so timeless, even if it's now full of robots with ironic haircuts. It's a darker, more present take on Americana and all its beautiful losers. With a new drive and new hooks, he orients himself around an array of locations real and imagined including SF's Tenderloin District, an English roundabout, and Nixonland while hanging out with a love struck mirror and the ghosts of Johnny Thunders, Willie Wonka, and John the Baptist, and contemplating the train that carried Abraham Lincoln home for the final time. It's everything you'd expect from a Chuck Prophet record and more. Together, they produced his first album at the age of 16, cementing Matt's dedication to music. Soon, he formed a band, dropped out of college, and has not looked back. Since then, Matt has written more songs than he can remember the words to, crisscrossed the country opening for Blues Traveler and Wilcoand co-written with Tom Higgenson of the Plain White T's. Inspired by the great lineage of rock n' roll, he marries literary lyrics with the undeniable urge to dance. Matt has served as musical director for experimental theater, collaborated with poets on genre-bending spoken word, and curated residencies among fellow songwriters. Having suffered from seizures sinceMatt also uses his music to unite local and national epilepsy communities. Matt is currently rolling out his fourth and fifth albums, Undertoad and Kintsugi. Formed in by the Frazier brothers, the band has evolved from playing the streets of the French Quarter to playing festivals and stages all over the world. A current revival has been underway since the early scoming to great popularity in the early s. Some clubs used it as their proper name. Init was also used to describe a Parisian nightclub in an English magazine. In the summer ofa short sleeveless dress called "discotheque dress" was briefly very popular in the United States. The earliest known use for the abbreviated form "disco" described this dress and has been found in The Salt Lake Tribune on July 12,but Playboy magazine used it Take It Back - The J. Geils Band - Sanctuary. (Cassette September of the same year to describe Los Angeles nightclubs. Vince Aletti was one of the first to describe disco as a sound or a music genre. The music typically layered soaring, often- reverberated vocals, often doubled by horns [ citation needed ]over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar. Lead guitar features less frequently in disco than in rock. Synthesizers are also fairly common in disco, especially in the late s. The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as harpviolinviolacellotrumpetsaxophonetromboneclarinetflugelhornFrench horntubaEnglish hornoboeflute sometimes especially the alto flute and occasionally bass flutepiccolotimpani and synth stringsstring section or a full string orchestra [ citation needed ]. Most disco songs have a steady four-on-the-floor beat, a quaver or semi-quaver hi-hat pattern with an open hi-hat on the off-beat, and a heavy, syncopated bass line. Other Latin rhythms such as the rhumba, the samba, and the cha-cha-cha are also found in disco recordings, and Latin polyrhythmssuch as a rhumba beat layered over a merengue, are commonplace. The quaver pattern is often supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present. Songs often use syncopationwhich is the accenting of unexpected beats. Disco is further characterized by a 16th note division of the quarter notes as shown in the second drum pattern below, after a typical rock drum pattern. The orchestral sound is usually known as "disco sound" relies heavily on string sections and horns playing linear phrases, in unison with the soaring, often reverberated vocals or playing instrumental fills, while electric pianos and chicken-scratch guitars create the background "pad" sound defining the harmony progression. Typically, all of the doubling of parts and use of additional instruments creates a rich " wall of sound ". There are, however, more minimalist flavors of disco with reduced, transparent instrumentation, pioneered by Chic. Harmonically, disco music typically contains major and minor seven chords [ citation needed ]which are found more often in jazz than pop music. The "disco sound" was much more costly to produce than many of the other popular music genres from the s. Unlike the simpler, four-piece-band sound of funksoul music of the late s, or the small jazz organ triosdisco music often included a large band, with several chordal instruments guitar, keyboards, synthesizerseveral drum or percussion instruments drumkit, Latin percussion, electronic drumsa horn sectiona string orchestraand a variety of " classical " solo instruments for example, flute, piccolo, and so on. Disco songs were arranged and composed by experienced arrangers and orchestratorsand record producers added their creative touches to the overall sound using multitrack recording techniques and effects units. Recording complex arrangements with such a large number of instruments and sections required a team that included a conductorcopyistsrecord producers, and mixing engineers. Mixing engineers had an important role in the disco production process, because disco songs used as many as 64 tracks of vocals and instruments. Mixing engineers and record producers, under the direction of arrangers, compiled these tracks into a fluid composition of verses, bridges, and refrains, complete with builds and breaks. Mixing engineers and record producers helped to develop the "disco sound" by creating a distinctive-sounding, sophisticated disco mix. Early records were the "standard" three-minute version until Tom Moulton came up with a way to make songs longer so that he could take a crowd of dancers at a club to another level and keep them dancing longer. He found that it was impossible to make the RPM vinyl singles of the time longer, as they could usually hold no more than five minutes of good-quality music. They cut the next single on a 12" disc, the same format as a standard album. Moulton and Rodriguez discovered that these larger records could have much longer songs and remixes. By the late s most major US cities had thriving disco club scenes. The scene was centered on discothequesnightclubsand private loft parties. In the late '70s, Studio 54 in Midtown Manhattan was arguably the best known nightclub in the world. This club played a major formative role in the growth of disco music and nightclub culture in general. It was operated by Steve Rubell and Ian Schrager and was notorious for the hedonism that went on within; the balconies were known for sexual encountersand drug use was rampant. Its dance floor was decorated with an image of the " Man in the Moon " that included an animated cocaine spoon. The " Copacabana ", another New York nightclub dating to the s, had a revival in the late s when it embraced disco; it would become the setting of a Barry Manilow song of the same name. In Washington, D. Powerful, bass-heavy, hi-fi sound systems were viewed as a key part of the disco club experience. Typical lighting designs for disco dance floors could include multi-coloured lights that swirl around or flash to the beat, strobe lightan illuminated dance floor and a mirror ball. Disco-era disc jockeys DJs would often remix existing songs using reel-to-reel tape machinesand add in percussion breaks, new sections, and new sounds. DJs would select songs and grooves according to what the dancers wanted, transitioning from one song to another with a DJ mixer and using a microphone to introduce songs and speak to the audiences. Other equipment was added to the basic DJ setup, providing unique sound manipulations, such as reverbequalization, and echo effects unit. Using this equipment, a DJ could do effects such as cutting out all but the bassline of a song and then slowly mixing in the beginning of another song using the DJ mixer's crossfader. Notable U. Some DJs were also record producers who created and produced disco songs in the recording studio. Larry Levan, for example, was a prolific record producer as well as a DJ. Because record sales were often dependent on dance floor play by DJs in leading nightclubs, DJs were also influential for the development and popularization of certain types of disco music being produced for record labels. In the early years, dancers in discos danced in a "hang loose" or "freestyle" approach. At first, many dancers improvised their own dance styles and dance steps. Later in the disco era, popular dance styles were developed, including the "Bump", "Penguin", "Boogaloo", "Watergate" and "Robot". By October the Hustle reigned. It was highly stylized, sophisticated and overtly sexual. During the disco era, many nightclubs would commonly host disco dance competitions or offer free dance lessons. Some cities had disco dance instructors or dance schools, which taught people how to do popular disco dances such as "touch dancing", "the hustle", and " the cha cha ". The pioneer of disco dance instruction was Karen Lustgarten in San Francisco in Her book The Complete Guide to Disco Dancing Warner Books was the first to name, break down and codify popular disco dances as dance forms and distinguish between disco freestyle, partner and line dances. The dynamic dance duo of Robin and Reggie led the show. The pair spent the week teaching disco dancing to dancers in the disco clubs. The instructional show aired on Saturday mornings and had a strong following. The viewers of this would stay up all night on Fridays so they could be on the set the next morning, ready to return to the disco on Saturday night knowing with the latest personalized dance steps. The producers of the show, John Reid and Greg Roselli, routinely made appearances at disco functions with Robin and Reggie to scout out new dancing talent and promote upcoming events such as "Disco Night at White Sox Park". Other dance marathons took place after Roberts held the world's record for disco dancing for a short period of time. Some notable professional dance troupes of the s included Pan's People and Hot Gossip. For many dancers, a key source of inspiration for s disco dancing was the film Saturday Night Fever Interest in disco dancing also helped spawn dance competition TV shows such as Dance Fever Disco fashions were very trendy in the late s. Some women would wear sheer, flowing dresses, such as Halston dresses or loose, flared pants. Other women wore tight, revealing, sexy clothes, such as backless halter topsdisco pants"hot pants", or body-hugging spandex bodywear or "catsuits". Men often wore Pierre Cardin suits, three piece suits with a vest and double-knit polyester shirt jackets with matching trousers known as the leisure suit. Men's leisure suits were typically form-fitted in some parts of the body, such as the waist and bottom, but the lower part of the pants were flared in a bell bottom style, to permit freedom of movement. During the disco era, men engaged in elaborate grooming rituals and spent time choosing fashion clothing, both activities that would have been considered "feminine" according to the gender stereotypes of the era. Platform shoes and boots for both genders and high heels for women were popular footwear. Less commonly, some disco dancers wore outlandish costumes, dressed in dragcovered their bodies with gold or silver paint, or wore very skimpy outfits leaving them nearly nude; these uncommon get-ups were more likely to be seen at invitation-only New York City loft parties and disco clubs. In addition to the dance and fashion aspects of the disco club scene, there was also a thriving club drug subcultureparticularly for drugs that would enhance the experience of dancing to the loud, bass-heavy music and the flashing colored lights, such as cocaine [22] nicknamed "blow"amyl nitrite " poppers "[23] and the " Paul Gootenberg states that "[t]he relationship of cocaine to s disco culture cannot be stressed enough While the dance floor was the central arena of seductionactual sex usually took place in the nether regions of the disco: bathroom stalls, exit stairwellsand so on. In other cases the disco became a kind of 'main course' in a hedonist's menu for a night out. In his Take It Back - The J. Geils Band - Sanctuary. (Cassette, "In Defense of Disco"Richard Dyer claims eroticism as one of the three main characteristics of disco. He uses Donna Summer's singles " Love to Love You Baby " and " I Feel Love " as examples of the ever present relationship between the synthesized bass lines and backgrounds to the simulated sounds of orgasms Summers echoes in the tracks, and likens them to the drug-fervent, sexually liberated fans of disco who sought to free themselves through disco's "aesthetic of machine sex. In their history of the disc jockey and club culture, Bill Brewster and Frank Broughton describe the Sanctuary as "poured full of newly liberated gay men, then shaken and stirred by a weighty concoction of dance music and pharmacoia of pills and potions, the result is a festivaly of carnality. By describing the music, drugs and liberated mentality as a trifecta coming together to create the festival of carnality, Brewster and Broughton are inciting all three as stimuli for the dancing, sex and other embodied Take It Back - The J. Geils Band - Sanctuary. (Cassette that contributed to the corporeal vibrations within the Sanctuary. This supports the argument that the disco music took a role in facilitating this sexual liberation that was experienced in the discotheques. Further, this coupled with the recent legalization of abortions, the introduction of antibiotics and the pill all facilitated a culture shift around sex from one of procreation to pleasure and enjoyment fostering a very sex positive framework around discotheques. Further, in addition to gay sex being illegal in New York state, until the American Psychiatric Association classified homosexuality as an illness. Disco was mostly developed from music that was popular on the dance floor in clubs that started playing records instead of having a live band. The first discotheques mostly played swing music. Later on uptempo rhythm and blues became popular in American clubs and northern soul and glam rock records in the UK. In the early s, nightclubs in Paris resorted to playing jazz records during the Nazi occupation. She installed a dance floor with coloured lights and two turntables so she could play records without having a gap in the music. The patrons were unimpressed until a young reporter, who happened to be covering the opening of the club, impulsively took control of the record player and introduced the records that he chose to play. Klaus Quirini later claimed to thus have been the world's first nightclub DJ. During the s, discotheque dancing became a European trend that was enthusiastically picked up by the American press. Those genres, mainly African-American ones, would influence much of early disco music. Also during the s, the Motown record label developed a popular and influential own sounddescribed as having "1 simply structured songs with sophisticated melodies and chord changes, 2 a relentless four-beat drum pattern, 3 a gospel use of background voices, vaguely derived from the style of the Impressions, 4 a regular and sophisticated use of both horns and strings, 5 lead singers who were half way between pop and gospel music, 6 a group of accompanying musicians who were among the most dextrous, knowledgeable, and brilliant in all of popular music Motown bassists have long been the envy of white rock bassists [ citation needed ] and 7 a trebly style of mixing that relied heavily on electronic limiting and equalizing boosting the high range frequencies to give the overall product a distinctive sound, particularly effective for broadcast over AM radio. At the end of the s, musicians and audiences from the Black, Italian and Latino communities adopted several traits from the hippie and psychedelia subcultures. They included using music venues with a loud, overwhelming sound, free-form dancing, trippy lighting, colorful costumes, and the use of hallucinogenic drugs. The long instrumental introductions and detailed orchestration found in psychedelic soul tracks by the Temptations are also considered as cinematic soul. In the early s, Curtis Mayfield and Isaac Hayes scored hits with cinematic soul songs that were actually composed for movie soundtracks: " Superfly " and " Theme from Shaft " The latter is sometimes regarded as an early disco song. In the early s, the Philly soul productions by Gamble and Huff evolved from the simpler arrangements of the lates into a style featuring lush strings, thumping basslines, and sliding hi-hat rhythms. These elements would become typical for disco music and are found in several of the hits they produced in the early s:. Other early disco tracks that helped shape disco and became popular on the dance floors of underground discotheque clubs and parties include:. The genre was also shaped by Tom Moultonwho wanted to extend the enjoyment of dance songs — thus creating the extended mix or " remix ", going from a three-minute 45 rpm single to the much longer 12" record. Frankie Knuckles was not only an important disco DJ; he also helped to develop house music in the s. In the s, the key counterculture of the sthe hippie movement, was fading away. The economic prosperity of the previous decade had declined, and unemployment, inflation and crime rates had soared. Political issues like the backlash from the Civil Rights Movement culminating in the form of race riots, the Vietnam War, the assassinations of Dr. Kennedy, and the Watergate scandal, left many feeling disillusioned and hopeless. The start of the '70s was marked by a shift in the consciousness of the American people: the rise of the feminist movement, identity politics, gangs, etc. Disco music and disco dancing provided an escape from negative social and economic issues. In Beautiful Things in Popular CultureSimon Frith highlights the sociability of disco and its roots in s counterculture. The birth of disco is often claimed to be found in the private dance parties held by New York City DJ David Mancuso's home that became known as The Loftan invitation-only non-commercial underground club that inspired many others. After some months the parties became weekly events and Mancuso continued to give regular parties into the s. When Mancuso threw his first informal house parties, the gay community which made up much of The Loft's attendee roster was often harassed in the gay bars and dance clubswith many gay men carrying bail money with them to gay bars. But at The Loft and many other early, private discothequesthey could dance together without fear of police action thanks to Mancuso's underground, yet legal, policies. Vince Aletti described it "like going to party, completely mixed, racially and sexually, where there wasn't any sense of someone being more important than anyone else," and Alex Rosner reiterated this saying "It was probably about sixty percent black and seventy percent gay There was a mix of sexual orientation, there was a mix of races, mix of economic groups. A real mix, where the common denominator was music. Film critic Roger Ebert called the popular embrace of disco's exuberant dance moves an escape from "the general depression and drabness of the political and musical atmosphere of the late seventies. Nirvana is the dance; when the music stops, you return to being ordinary. In the late s, uptempo soul with heavy beats and some associated dance styles and fashion were picked up in the British mod scene and formed the northern soul movement. As the favoured beat became more uptempo and frantic in the early s, northern soul dancing became more athletic, somewhat resembling the later dance styles of disco and break dancing. Inthere were an estimated 25, mobile discos and 40, professional disc jockeys in the United Kingdom. Mobile discos were hired deejays that brought their own equipment to provide music for special events. Glam rock tracks were popular, with for example Gary Glitter 's single " Rock and Roll Part 2 " becoming popular on UK dance floors while it did not get any radio airplay. From todisco music increased in popularity as many disco songs topped the charts. The Hues Corporation 's " Rock the Boat "a US number-one single and million-seller, was one of the early disco songs to reach number one. The same year saw the release of " Kung Fu Fighting ", performed by Carl Douglas and produced by Bidduwhich reached number one in both the UK and US, and became the best-selling single of the year [53] and one of the best-selling singles of all time with 11 million records sold worldwide, [54] [55] helping to popularize disco to a great extent. In the northwestern sections of the United Kingdom, the northern soul explosion, which started in the late s and peaked inmade the region receptive to disco, which the region's disc jockeys were bringing back from New York City. The shift by some DJs to the newer sounds coming from the U. Later inGaynor's number-one disco song was " I Will Survive ", which was seen as a symbol of female strength and Take It Back - The J. Geils Band - Sanctuary. (Cassette gay anthem, [58] like her further disco hit, a remake of " I Am What I Am "; in she released " Let Me Know I Have a Right ", a single which gained popularity in the civil rights movements. Also inVincent Montana Jr. Formed by Harry Wayne Casey a. In this period, rock bands like the English Electric Light Orchestra featured in their songs a violin sound that became a staple of disco music, as in the hit " Evil Woman ", although the genre was correctly described as orchestral rock. Other disco producers such as Tom Moulton took ideas and techniques from dub music which came with the increased Jamaican migration to New York City in the s to provide alternatives to the "four on the floor" style that dominated. DJ Larry Levan utilized styles from dub and jazz and remixing techniques to create early versions of house music that sparked the genre. From around the production of the Temptations' album Cloud Nine inhe incorporated some psychedelic influences and started to produce longer, dance-friendly tracks, with more room for elaborate rhythmic instrumental parts. An example of such a long psychedelic soul track is " Papa Was a Rollin' Stone ", which appeared as a single edit of almost seven minutes and an approximately minute-long 12" version in By the early 70s, many of Whitfield's productions evolved more and more towards funk and disco, as heard on albums by the Undisputed Truth and the album G. The Undisputed Trutha Motown recording act assembled by Whitfield to experiment with his psychedelic soul production techniques, found success with their song " Smiling Faces Sometimes ". Whitfield produced some more disco hits, including " Car Wash " by Rose Royce from the album soundtrack to the film Car Wash. Insinger, songwriter and producer Willie Hutchwho had been signed to Motown sincenow signed with Whitfield's new label, and scored a successful disco single with his song "In and Out" in Other Motown artists turned to disco as well. Diana Ross embraced the disco sound with her successful outing " Love Hangover " from her self-titled album. The Supremesthe group that made Ross famous, scored a handful of hits in the disco clubs without her, most notably 's " I'm Gonna Let My Heart Do the Walking " and, their last charted single before disbanding, 's "You're My Driving Wheel". At the request of Motown that he produce songs in the disco genre, Marvin Gaye released " Got to Give It Up " indespite his dislike of disco. He vowed not to record any songs in the genre, and actually wrote the song as a parody. However, several of Gaye's songs have disco elements, including " I Want You " Stevie Wonder released the disco single " Sir Duke " in as a tribute to Duke Ellingtonthe influential jazz legend who had died in It contained the disco single " Baby That's Backatcha ". Several of Motown's solo artists who left the label went on to have successful disco songs. Mary WellsMotown's first female superstar with her signature song " My Guy " written by Smokey Robinsonabruptly left the label in She briefly reappeared on the charts with the disco song "Gigolo" in Jimmy Ruffinthe elder brother of the Temptations lead singer David Ruffinwas also signed to Motown, and released his most successful and well-known song " What Becomes of the Brokenhearted " as a single in Ruffin eventually left the record label in the mids, but saw success with the disco song " Hold On To My Love ", which was written and produced by Robin Gibb of the Bee Gees, for his album Sunrise. Edwin Starrknown for his Motown protest song " War "reentered the charts in with a pair of disco songs, " Contact " and " H. Radio ". The song was intended as an affectionate disco-style pastiche of the Motown sound, in particular the various duets recorded by Marvin Gaye with Tammi Terrell and Kim Weston. Many Motown groups who had left the record label charted with disco songs. The Jackson 5one of Motown's premier acts in the early s, left the record company in Jermaine Jacksonhowever, remained with the label after successful songs like " I Want You Back " and " ABC "and even the disco song " Dancing Machine " The Detroit Spinners were also signed to the Motown label and saw success with the Stevie Wonder-produced song " It's a Shame " in They left soon after, on the advice of fellow Detroit native Aretha Franklinto Atlantic Recordsand there had disco songs like " The Rubberband Man " However, one single, "The Night"was released in Britain inand thanks to popularity from the Northern Soul circuit, reached number seven on the UK Singles Chart. This Swedish quartet, which sang primarily in English, found success with singles such as " Waterloo "" Fernando "" Take a Chance on Me "" Gimme! A Man After Midnight "and their signature smash hit " Dancing Queen " —ranks as the Fourth best-selling act of all time. In s Munich, West Germanymusic producers Giorgio Moroder and Pete Bellotte made a decisive contribution to disco music with a string of hits for Donna Summerwhich became known as the "Munich Sound". The final product, which contained a series of simulated orgasmsinitially was not intended for release, but when Moroder played it in the clubs it caused a sensation and he released it. The song became an international hit, reaching the charts in many European countries and the US No. It has been described as the arrival of the expression of raw female sexual desire in pop music. A minute inch single was released. The 12" single became and remains a standard in discos today. Boney M. Another successful West German disco recording act was Silver Convention — The German group Kraftwerk also had an influence on Euro disco. Dalida successfully adjusted herself to disco era and released at least a dozen of songs that charted among top number 10 in whole Europe and wider. French producer Alec Costandinos assembled the disco group Love and Kisses — Her greatest international single was "Tanti Auguri" "Best Wishes"which has become a popular song with gay audiences. The song is also known under its Spanish title "Para hacer bien el amor hay que venir al sur" which refers to Southern Europe, since the song was recorded and taped in Spain. It was her only entry to the UK Singles Chartreaching number 9, where she remains a one-hit wonder. The song charted in different European countries. Euro disco continued evolving within the broad mainstream pop music scene, even when disco's popularity sharply declined in the United States, abandoned by major U. In Decemberthe film Saturday Night Fever was released. It was a huge success and its soundtrack became one of the best-selling albums of all time. 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Simmons, Sylvie, ed. October Guitar World. Archived from the original on May 13, A few other Pink Floyd songs of the s incorporated disco elements, escpecially songs like Part 8 of " Shine On You Crazy Diamond "" Pigs Three Different Ones "and " Young Lust "which all featured a funky, syncopated bass line. Retrieved February 3, Retrieved August 2, August 15, — via YouTube. Here's Why". May 27, Archived from the original on August 2, Archived from the original on May 4, September 1, Archived from the original on June 20, Dance of days: two decades of punk in the nation's capital. Akashic Books. Retrieved March 21, Archived from the original on November 4, NBC News. July 12, Archived from the original on October 14, Retrieved October Take It Back - The J. Geils Band - Sanctuary. (Cassette, Headline Book Publishing Ltd. 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Category United States portal Rhythm and blues portal. Latin music United States. New Mexico music. Nuyorican rap. Tejano Tex-Mex. Music industry. Concert Concert tour Concert residency Music festival Music competition. Music award Best-selling music artists Best-selling albums by country Best-selling singles Highest-grossing concert tours Highest-attended concerts Global Recording Artist of the Year. Music Take It Back - The J. Geils Band - Sanctuary. (Cassette

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9 thoughts on “Take It Back - The J. Geils Band - Sanctuary. (Cassette, Album)

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  2. Disco is a genre of dance music and a subculture that emerged in the s from the United States' urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, horns, electric piano, synthesizers, and electric rhythm guitars.. Well-known disco artists include ABBA, the Bee Gees, Donna Summer, Gloria Gaynor, Giorgio .

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  7. Aug 27,  · COVID POLICY. Session Americana (Boston) is a rock band in a tea cup, or possibly a folk band in a whiskey bottle. This band/collective of talented musicians craft an musical experience unlike any other. On stage is a collapsible bar table wired with microphones, a vintage suitcase recast as a kick drum, an old Estey field organ, a pre-war parlor guitar, a mandocello and all of its smaller.

  8. Oasis's localized name could be a reference to propertychoice.biz band's album "Sanctuary" The Requiem Quietly Plays (story arc) is a possible reference to Geraldo Vandre's song "Requiem for Matraga" since the events of the arc have things that are similar to the lyrics of the song. Scolippi's Stand is named after the British Rock band "The Rolling Stones".

  9. Disco is a genre of dance music and a subculture that emerged in the s from the United States' urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, horns, electric piano, synthesizers, and electric rhythm guitars.. Well-known disco artists include ABBA, the Bee Gees, Donna Summer, Gloria Gaynor, Giorgio Moroder, Boney M., Earth.

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