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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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.
“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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Norma Jean Wright, who sang lead vocals on Chic’s first smash single “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah),” was born on this date in 1956 in Ripley, Tennessee, which is not far from the town of Nutbush, from where Tina Turner hails. Wright’s dad attended the same church as Tina. Besides her work with Chic, most notably on the aforementioned single and its follow-up, “Everybody Dance,” Wright has released solo records and sang backup on albums by Aretha Franklin, Madonna, Luther Vandross (who sings backup on “Dance, Dance, Dance”) and Sister Sledge.
Tunes du Jour celebrates the birthday of Norma Jean Wright with a playlist that includes her two biggest hits with Chic.
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Inspired by Black Music Month, LGBTQ Pride Month, the June 3 birthdays of Curtis Mayfield, Deniece Williams, Mott the Hoople’s Ian Hunter, C + C Music Factory’s David Cole, Suzi Quatro, Allen Ginsberg, Dan Hill, Boots Rudolph, Republica’s Saffron, Stereophonics’ Kelly Jones, and Beabadoobee, and the June 2 birthdays of The Rolling Stones‘ Charlie Watts, Chubby Tavares, Cypress Hill’s B-Real, Spandau Ballet’s Tony Hadley, Bangles’ Michael Steele, Jimmy Jones, Skillz, Otis Williams, David Dundas, Marvin Hamlisch, Sammy Turner, and Robin Lamont.
Inspired by the May 18 birthdays of Devo’s Mark Mothersbaugh, Rick Wakeman, Butch Tavares, Robert Morse, Big Joe Turner, Rob Base, Ezio Pinza, George Strait, Martika, Enigma’s Michael Cretu, Albert Hammond, Perry Como, Oak Ridge Boys’ Joe Bonsall, the Rubettes’ Paul DaVinci, Jack Johnson, and Broadway composer Meredith Willson.
Nineteen seventy-five was a pivotal year for disco music. The genre was still very young; the name “disco” as a reference to the music genre was coined just two years earlier by journalist Vince Aletti. Disco music crossed over into the mainstream with more frequency, yet was not as ubiquitous a presence on the pop charts as it would become in the ensuing years of that decade. Artists who had their first top 40 singles in 1975 include Gloria Gaynor and KC and the Sunshine Band. In December of 1975, Donna Summer made her first appearance on the Hot 100 when “Love to Love You Baby” made its debut, having already been a smash in the clubs. The Bee Gees updated their sound in 1975 with “Jive Talkin’,” which became their first top ten single since 1971. Ben E. King, who had hits in the early 1960s as a solo artist and as the lead singer of The Drifters scored his first top ten pop hit since 1961’s “Stand By Me” with the funky “Supernatural Thing.” As the lead singer of the trio named after her, Patti LaBelle scored her first top ten hit in over a decade with “Lady Marmalade.” Veteran acts such as Frankie Valli, The Temptations, The Miracles, The Isley Brothers and Esther Phillips filled the dance floors. And it was in 1975 that the world was doing the hustle.
Today’s playlist is made up of forty disco gems from 1975.
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