Dance / Disco was not really a genre that used to lend itself to albums. By and large, it’s always been a singles format, or indeed an extended singles format. This was a world of largely million-selling one-off hits performed by faceless artists with a belting groove and catchy (often chant-like) melodies designed for filling floors in dance clubs.
Their mission was simple; to shake bootys, groove thangs and moneymakers, in no particular order..
George McCrae made “Rock Your Baby” while waiting for his wife to turn up at a studio and Lipps Inc were a bunch of session musicians messing about in a studio who then produced the unstoppable “Funky Town”.
The emphasis of this changed really with Michael Jackson’s timeless “Off The Wall” an album that spawned five hit singles and created the image of an entirely new kind of pop star from a genre that had not really produced them before.
However, while buying up several of the reissued disco albums that were released in the mid to late seventies (thanks go to the BBR label), it seemed to me that this mega-album owed its success to some very obvious antecedents that came from some very unlikely places.
Cleethorpes on the Humber was just one.
The seventies was a decade which was bookended by two exhilarating movements in British music – the sparkle of Glam Rock and, at the end of the decade, the bite and bravado of New Wave and Punk. In the middle of the decade, apart from the domination of the rock behemoths in the album charts, there was no real indication that this was the land that had spawned the Beatles and the Stones ten years earlier or that the Clash and XTC were just around the corner.
The charts were frothy and very unchallenging. The one notable exception was soul/disco which, although imported from the US in the main with some European crossover, had implanted itself into the hearts of the dancing British public in a way that would endure with far greater resonance than amongst their American counterparts.
Homegrown Disco often came from bands on the club circuit – Tina Charles and The Dooleys – and was a very very pale imitation of the real thing but Britain did produce one bona fide global disco smash – Heatwave’s “Boogie Nights”.
Strictly speaking, they weren’t entirely British but were an American soul band based in Germany (as was Donna Summer), centered on the Wilder Brothers as vocalists but with a backing band from Czechoslovakia, Switzerland, Jamaica and the UK. Amongst this number was keyboard player and arranger, Rod Temperton who had moved to Germany, having previously worked for a fish factory in Grimsby – he’s the one at the side who looks like he works in a Grimsby fish factory but wearing some of Earth Wind And Fire’s cast-offs instead of overalls. His discomfort is palpable.
Having begun touring away from the military bases, they moved to the UK and were signed eventually by GTO records and with their afore-mentioned second single, penned by Temperton, created a deserved but unlikely worldwide smash.
Their second album, “Central Heating” is, to my mind one of the quintessential disco albums and is owed an enormous debt by “Off The Wall”. It is smooth, resolutely upbeat and never loses its pop sensibility. It also manages to showcase the band’s variety which within such a seemingly narrowly defined genre is a rare treat.
“The Star Of A Story” has a meandering silkiness that feels as if it could have emerged from one of Stevie Wonder’s mid 70s classics, although perhaps a little syrupy for my liking. “Happiness Togetherness” manages to keep the right side of romantic and also seems to have a Stylistics mood to it. Meanwhile “Put The Word Out”, “Send Out For Sunshine” and the title track “Central Heating” are absolutely kick-ass groovers.
But the real highlight is of course, the fantastic “The Groove Line”, an impeccable song that would not have been lost on “Off The Wall” or better still Michael’s album with his brothers at the time, “Destiny”. It is a thumping floor-filler that is often forgotten in comparison to its transatlantic counterparts but has all the joyous authenticity you could ever want from a disco classic.
It is another interesting point to notice that at the same time as this album was released Kool & The Gang changed their stylings from the excellent but haphazard jazz-funk of “Hollywood Swinging'” and brought in a pop styled lead singer in Jams “JT” Taylor and would the following year embark on a hugely successful dance-pop career. The line from “Central Heating” to “Ladies Night” is an easy one to follow.
And that’s aside from also initiating the great lost genre of Brit-funk which is a subject for a later date.
The debts to Heatwave just keep accumulating.
By now, Rod Temperton had put his not entirely unsurprising awkwardness on stage to one side and concentrated on simply being a writer for the band and was responsible for the majority of the album, which apart from “The Groove Line” had one other astonishingly accomplished and timeless track in “Mind Blowing Decisions”, as sinewy summery a piece of super smooth soul as you could ever find. It simply gets better every time I hear it with its layered texture, reggae-ish slink and surprisingly well-chosen and non-stereotypical lyrics and sentiments.
If it’s a hot day today, try not to enjoy every single minute of this.
It’s a song that seems to have heavily influenced Quincy Jones “Off The Wall” production with its textured, mellow vibe – its audio footprint can be heard in that album’s “Girlfriend” and even Thriller’s “Human Nature”. There is a gentle ease in the atmosphere of the record that it is small wonder Quincy invited Rod Temperton to contribute to his protege’s breakthrough work.
But here’s the thing, it wasn’t written by Temperton but actually by singer, Johnny Wilder Jr, so although the arrangement owed much to the man from Humberside, the production puts forward another unlikely hero.
One Barry Green…
Or as you might remember him Barry Blue.
That’s right, writer and performer of late-Glam fame, “Dancin’ On A Saturday Night” Barry Blue.
The truth is he had been a reluctant pop star whose his dress sense was questionable at best (he may have had too much say in the band’s wardrobe too as they seemed to have a penchant for all things shiny too), but understood all about melodies, hooks and stomping rhythms. Mercifully, he had put aside the bouzouki solo breaks but he really could fill a three minute record with textures and hooks that allied a genuine passion for dance floor drive but with the exuberance of any great pop single – and say what you like, that was a great pop single.
Rod Temperton’s global success is of course well documented as he wrote hits for all kinds of performers but I do enjoy the thought of disco classics “Off The Wall” and “Celebration” having their origins not just in his work but also in the production stylings of British glam rock and two separate gentlemen with very dubious fashion sense.
Well it’s a theory…