For me, Rain has long been a vital precursor for disco. But i would also point you to a song that was a NYC sensation made by Nova Scotians: I Like What I Like by the Everyday People. That opening is one of those early dancefloor delights that never got to go mainstream. But all of your work here is invaluable both for the social and cultural movements that birthed disco and for the early sounds that predate but inform it. Even the block parties that helped start hip hop are in disco's dna because when you cut a record from side to side, you approach an extended mix.
Now here’s an interesting track, Emm: The Everyday People with I Like What I Like. One I didn’t know, so I immediately went off to listen to it, and it ticks all the boxes of an early seventies dancefloor gem. What’s more, if you wade through the discussion about the watered-down remix version that Unidisc released, you’ll find testimonials from people confirming that it was quite popular in early seventies New York.
Except… I can’t find anything about it in my sources. 😁
Anyway, that’s not really important, because I don’t think the lists I have are anything more than taking the temperature of the period rather than being truly all-inclusive. Which brings me to the best part of your reaction: it means there must have been so much more being played back then that I still don’t know about. 😂
Thanks for your reaction, Emm. Very much appreciated. Have a great rest of the week!
I think that’s the remix I heard. Unidisc is one of those rights companies that isn’t afraid to release “remixes” or re-recordings, and I think this is one of those examples.
I think they own Dee-Lite's old catalog. Except for the Kool and the Gang songs. This is the one that lit up NYC by the Nova Scotia band (which I don't think included any Black members): https://youtu.be/eS3GxL2gXd0?si=weUw49zinjnHfqT7 and this is the version you probably heard, which has the definite article attached to the band's name... https://youtu.be/_gFHSbWtrIE?si=K7DnvbJWHiM4ODYE
I’ve been meaning to comment on this article for a while, Peter. Each time I’ve read it over the past several weeks, I’m awed and inspired. And every time I’ve read it, I’ve discovered something new and wonderful. It’s deeply moving, even magical. You have captured the essence—and importance—of this art form known as disco, which some reflexively dismiss either because they do not understand it or because they understand it too well and are threatened by its gentle subversion of oppressive power structures. But the word you use most to describe disco—joy—is what shines through your brilliant writing. You clearly love this music, including its more recent permutations of house, garage, and techno, and your love is infectious and makes me appreciate and enjoy this music—and its history—even more. Thank you for that. 🙏🙏🙏🎶🎶🎶❤️❤️❤️😎
This is one of the best compliments I’ve ever received, Todd. And the reason is that you got right to the heart of why I started writing this.
It wasn’t because I felt disco had received too much or too little attention. It was because I believe that talking about and enjoying disco today should, above all, be fun. That’s what the music was created for.
In many ways, disco was a counterbalance to the darker side of the 1970s and early 1980s, a period that shares more than a few parallels with the times we’re living in today. It offered people joy, escape, and a sense of togetherness.
So thank you for this wonderful compliment. It’s one I’ll cherish for a very long time.
Just stunning Pé, this was brilliant. I truly appreciate all the research that goes into these deep dives. Learning more about the genesis of disco, and the communities that fostered it, was fascinating.
I’m not surprised that the black musicians that were integral to disco had almost been erased by the time disco went mainstream. That’s sadly been the case throughout much of history with the cultural and musical appropriation that’s taken place.
When reading about the importance of DJs like Mancuso who were just interested in getting people moving on the dancefloor, I was reminded a bit of the UK’s Northern Soul scene. I don’t know a lot about that scene but I do know that DJs really did their best to find obscure singles, many from the US, that could keep the dancefloors hopping all night long.
Thanks, Mark! I’ve already touched on Northern Soul a few times, particularly in the episodes on some of the jazz-funk tracks I’ve covered, and also in the Evelyn Thomas episode, as her producer was an important figure in the Northern Soul scene.
I’m sure I’ll dive much deeper into Northern Soul at some point. It’s a fascinating movement because it’s so unique and peculiarly British. There were traces of something similar in continental Europe, but it developed in a rather different way.
Thanks for reading and taking the time to comment!
Thanks for doing such a great job researching, sharing, and making it available outside of the paywall. I feel like I understand more of my childhood a bit better because of the work you’ve done here. I appreciate it and wanted to let you know.
Pe, this was extraordinary. I love how you dive deep into the origins and zero in, with your laser-sharp focus, on an often neglected but hugely important aspect of the story of disco: how marginalised communities came together not just to celebrate, not just to move, but to survive. This sent shivers up and down my spine. Terrific piece.
Thanks, Andy. This week’s B-side actually became almost the backbone of the whole story. It turned into another writing marathon, but I was delighted with the way it eventually came together. And reading your comment makes me even happier, because it tells me that the message I wanted to get across landed exactly as intended. Thanks again, Andy.
For me, Rain has long been a vital precursor for disco. But i would also point you to a song that was a NYC sensation made by Nova Scotians: I Like What I Like by the Everyday People. That opening is one of those early dancefloor delights that never got to go mainstream. But all of your work here is invaluable both for the social and cultural movements that birthed disco and for the early sounds that predate but inform it. Even the block parties that helped start hip hop are in disco's dna because when you cut a record from side to side, you approach an extended mix.
Now here’s an interesting track, Emm: The Everyday People with I Like What I Like. One I didn’t know, so I immediately went off to listen to it, and it ticks all the boxes of an early seventies dancefloor gem. What’s more, if you wade through the discussion about the watered-down remix version that Unidisc released, you’ll find testimonials from people confirming that it was quite popular in early seventies New York.
Except… I can’t find anything about it in my sources. 😁
Anyway, that’s not really important, because I don’t think the lists I have are anything more than taking the temperature of the period rather than being truly all-inclusive. Which brings me to the best part of your reaction: it means there must have been so much more being played back then that I still don’t know about. 😂
Thanks for your reaction, Emm. Very much appreciated. Have a great rest of the week!
Oddly, a funk band with a similar name covered it. And without that intro! I hope you have a lovely week too!
I think that’s the remix I heard. Unidisc is one of those rights companies that isn’t afraid to release “remixes” or re-recordings, and I think this is one of those examples.
I think they own Dee-Lite's old catalog. Except for the Kool and the Gang songs. This is the one that lit up NYC by the Nova Scotia band (which I don't think included any Black members): https://youtu.be/eS3GxL2gXd0?si=weUw49zinjnHfqT7 and this is the version you probably heard, which has the definite article attached to the band's name... https://youtu.be/_gFHSbWtrIE?si=K7DnvbJWHiM4ODYE
I’ve been meaning to comment on this article for a while, Peter. Each time I’ve read it over the past several weeks, I’m awed and inspired. And every time I’ve read it, I’ve discovered something new and wonderful. It’s deeply moving, even magical. You have captured the essence—and importance—of this art form known as disco, which some reflexively dismiss either because they do not understand it or because they understand it too well and are threatened by its gentle subversion of oppressive power structures. But the word you use most to describe disco—joy—is what shines through your brilliant writing. You clearly love this music, including its more recent permutations of house, garage, and techno, and your love is infectious and makes me appreciate and enjoy this music—and its history—even more. Thank you for that. 🙏🙏🙏🎶🎶🎶❤️❤️❤️😎
This is one of the best compliments I’ve ever received, Todd. And the reason is that you got right to the heart of why I started writing this.
It wasn’t because I felt disco had received too much or too little attention. It was because I believe that talking about and enjoying disco today should, above all, be fun. That’s what the music was created for.
In many ways, disco was a counterbalance to the darker side of the 1970s and early 1980s, a period that shares more than a few parallels with the times we’re living in today. It offered people joy, escape, and a sense of togetherness.
So thank you for this wonderful compliment. It’s one I’ll cherish for a very long time.
Just stunning Pé, this was brilliant. I truly appreciate all the research that goes into these deep dives. Learning more about the genesis of disco, and the communities that fostered it, was fascinating.
I’m not surprised that the black musicians that were integral to disco had almost been erased by the time disco went mainstream. That’s sadly been the case throughout much of history with the cultural and musical appropriation that’s taken place.
When reading about the importance of DJs like Mancuso who were just interested in getting people moving on the dancefloor, I was reminded a bit of the UK’s Northern Soul scene. I don’t know a lot about that scene but I do know that DJs really did their best to find obscure singles, many from the US, that could keep the dancefloors hopping all night long.
Thanks, Mark! I’ve already touched on Northern Soul a few times, particularly in the episodes on some of the jazz-funk tracks I’ve covered, and also in the Evelyn Thomas episode, as her producer was an important figure in the Northern Soul scene.
I’m sure I’ll dive much deeper into Northern Soul at some point. It’s a fascinating movement because it’s so unique and peculiarly British. There were traces of something similar in continental Europe, but it developed in a rather different way.
Thanks for reading and taking the time to comment!
Thanks for doing such a great job researching, sharing, and making it available outside of the paywall. I feel like I understand more of my childhood a bit better because of the work you’ve done here. I appreciate it and wanted to let you know.
Thanks for reading and reacting, John. I’m glad my writing resonated with you and helped fill in some of the blanks. Have a great week!
Pe, this was extraordinary. I love how you dive deep into the origins and zero in, with your laser-sharp focus, on an often neglected but hugely important aspect of the story of disco: how marginalised communities came together not just to celebrate, not just to move, but to survive. This sent shivers up and down my spine. Terrific piece.
Thanks, Andy. This week’s B-side actually became almost the backbone of the whole story. It turned into another writing marathon, but I was delighted with the way it eventually came together. And reading your comment makes me even happier, because it tells me that the message I wanted to get across landed exactly as intended. Thanks again, Andy.