Sheila E. was born on this date in 1957. A handful of track from her are included on today’s playlist.
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Your (Almost) Daily Playlist: 11-15-24
The Trammps – “Disco Inferno” (1978)
“Disco Inferno” burned up the clubs in 1976 but missed the pop Top 40. A year later, it lit up the Saturday Night Fever soundtrack, leading to a 1978 reissue. This time – huge pop success on its way to becoming a bona fide classic. 🔥
The late Jimmy Ellis of The Trammps was born on this date in 1937. A few of his band’s songs are included on today’s playlist.
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Tunes Du Jour Presents 1979
The year 1979 was a vibrant time in popular music, characterized by disco’s stronghold on the charts and a rich variety of emerging and evolving genres. From dancefloor anthems to rock classics, the year’s hits reflected a dynamic musical landscape.
Disco reigned supreme in 1979, dominating the airwaves and nightclubs alike. Gloria Gaynor’s empowering “I Will Survive” became an instant classic, while Chic’s “Good Times” and Sister Sledge’s “We Are Family” kept dance floors packed. The genre’s influence extended far and wide, with Village People’s “Y.M.C.A.” becoming a cultural phenomenon, Donna Summer’s “Hot Stuff” showcasing disco’s enduring appeal, and Amii Stewart’s cover of “Knock on Wood” breathing new life into a soul classic. McFadden & Whitehead’s “Ain’t No Stoppin’ Us Now” and Sylvester’s “You Make Me Feel (Mighty Real)” further exemplified disco’s ability to blend uplifting messages with irresistible rhythms.
While disco flourished, rock music continued to evolve and diversify. AC/DC’s “Highway to Hell” solidified their status as the preeminent heavy metal band of the era, its raw energy and power chords setting a new standard for the genre. Dire Straits’ “Sultans of Swing” showcased a more refined, guitar-driven sound, while The Police emerged with “Message in a Bottle,” signaling the rise of post-punk. The new wave and power pop scenes gained momentum with Elvis Costello & the Attractions’ “Oliver’s Army,” The Jam’s “The Eton Rifles,” and Squeeze’s “Up the Junction” all making their mark. Meanwhile, M’s “Pop Muzik” and Blondie’s “Heart of Glass” demonstrated how disco influences could be merged with new wave sensibilities.
The year also saw the birth of iconic pop hits that would define the era. Michael Jackson’s “Don’t Stop ‘Til You Get Enough” hinted at the superstardom that awaited him, while The Knack’s “My Sharona” became an instant power pop classic. The Buggles’ prophetic “Video Killed the Radio Star” not only topped charts but would later make history as the first music video played on MTV. Earth, Wind & Fire’s “September” continued to showcase the enduring appeal of funk, while R&B ballads like Peaches & Herb’s “Reunited” and The Commodores’ “Still” made significant impacts on the pop charts.
As 1979 drew to a close, the musical landscape was rich and varied. While disco maintained its grip on popular culture, the seeds of change were being sown. The diversity of the year’s hits, from Charlie Daniels Band’s country crossover “The Devil Went Down to Georgia” to Rickie Lee Jones’ jazz-influenced “Chuck E’s In Love,” stood out against the backdrop of disco and straightforward pop tunes. This musical variety, along with emerging studio technologies and evolving artist expressions, set the stage for the significant shifts that would characterize the sound of the coming decade.
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Tunes Du Jour Presents Disco
This fall marks fifty years since Billboard magazine began publishing its disco chart, an acknowledgment of a genre that danced its way into the hearts of millions. Disco music, with its infectious rhythms and vibrant energy, was more than just a soundtrack for nightlife; it was a cultural phenomenon rooted in the experiences of Black, Latinx, and gay communities. The genre’s pulsating beats and soulful melodies offered an escape, a place where people could come together and express themselves freely on the dance floor.
Disco’s origins can be traced back to the dance halls of New York City, where marginalized communities created spaces for celebration and expression. Early tracks like The Trammps’ “That’s Where the Happy People Go” and Shirley & Co’s “Shame, Shame, Shame” laid the foundation for what would become a global movement. These songs, along with others from the era, were not just about the beats but also about creating a sense of community and shared experience on the dance floor, where people from all walks of life could come together and express themselves freely.
Black artists played a central role in shaping disco’s sound and message. Chic’s “Le Freak” and Sister Sledge’s “He’s the Greatest Dancer” brought sophisticated grooves that transcended race, while Marvin Gaye’s “Got to Give It Up” and Diana Ross’s “Upside Down” combined soul with danceable rhythms, pushing the genre into mainstream consciousness. The smooth yet dynamic production styles and vocals showcased a depth that went beyond the glittering surface often associated with disco.
Latinx influences also left an indelible mark on the genre. Songs like “Turn The Beat Around” by Vicki Sue Robinson and “Cherchez La Femme” by Dr. Buzzard’s Original Savannah Band infused Latin rhythms with disco beats, creating a vibrant and eclectic sound. This cross-pollination of cultures on the dance floor reflected the diversity of the communities that embraced disco, making it a genre that celebrated inclusivity long before it became a mainstream value.
As we commemorate fifty years since Billboard recognized disco’s impact, it’s important to remember that disco was more than just a moment in time. It was a movement that broke down social barriers and created a space where joy and liberation could thrive. Whether it’s the enduring appeal of “Stayin’ Alive” by the Bee Gees or the timeless groove of KC & the Sunshine Band’s “That’s the Way (I Like It),” disco’s legacy lives on, reminding us of the power of music to unite and uplift.
Your (Almost) Daily Playlist: 1-31-24
The first artist fan club I ever joined was that of KC and the Sunshine Band. I received a membership card and a Christmas card from the band when that holiday I don’t celebrate came around. I don’t think there was more to it. I joined Olivia Newton-John’s fan club a year or two later, and received a membership card and a folio filled with photos of Livvy pressed on cardboard of various sizes. Years later I joined the R.E.M. and Pearl Jam fan clubs, which came with 45 rpm records and stickers and a calendar and a VHS tape and some other fun stuff.
Are any of y’alls in an artist’s fan club? Is it worth the price of entry?
KC was born Harry Wayne Casey on this date in 1951. A handful of his group’s songs are included on today’s playlist. Also included is his first number one single – as a songwriter with fellow Sunshine Band member Rick Finch on George McCrae’s “Rock Your Baby.”
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Your (Almost) Daily Playlist: 10-31-23
“Good times / These are the good times”
Yeah. We’re doomed.
Chic’s Bernard Edwards, who gave us one of the most recognizable basslines in all of rock and roll in “Good Times,” was born on Hallowe’en in 1952. He passed away from pneumonia in 1996. A buncha Chic tunes are on today’s playlist.
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Your (Almost) Daily Playlist: 10-18-22
Today’s playlist celebrates the October 18 birthdays of Chuck Berry, Laura Nyro, The Association’s Russ Giguere, Wynton Marsalis, The Bluetones’ Mark Morriss, Ne-Yo, Exile’s Jimmy Stokley, Eruption’s Precious Wilson, and The Murmurs’ Heather Grody; and the October 19 birthdays of George McCrae, Fugees’ Pras, Peter Tosh, The Doobie Brothers’ Patrick Simmons, Thundercat, World Party’s Karl Wallinger, Jeannie C. Riley, Gloria Jones, Jennifer Holliday, Billy Gayles, Divine, and Patrick Cowley.
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