Disco Ladies

Not only one of the landmark records of the disco era, Donna Summer's "I Feel Love" also anticipated the emergence of techno -- sleek, pulsating, and sensual, its signature galloping bass line and sequencer-driven rhythm established the sonic blueprint for virtually all of the dance music to follow in its wake. Written by Summer in tandem with her longtime production team of Giorgio Moroder and Peter Bellotte, upon its 1977 release "I Feel Love" heralded a massive shift from the lushly orchestral disco records popular during the middle of the decade toward a harder-edged, electronic approach -- completely computer-generated, the song's futuristic sheen combines with its dreamily orgasmic vocal to create an experience that's both clinically remote and primally erotic. Summer's second Top Ten hit, "I Feel Love" ranks alongside Brian Eno's Another Green World and Kraftwerk's Trans Europe Express among the era's seminal electronic r

 The most beautiful woman in the history of music, Giorgio Moroder and Suzi Lane started the famous hi-energy sound with this famous song with enormous strength this song started on the most famous albums paradise garage and trocadero transfer true temples of music disco, an unprecedented time where giorgio moroder and patrick cowley, the greatest genius of the prophet v analog synthesizer, achieved spatial and supersonic sounds 30 years in advance ... this beautiful story tells that both bobby and giorgio fought inch by inch with their unique talents, the songs i fell love by donna summer by giorgio (then the huge correction of the theme by pat cowley astonished moroder himself, also in the fight for the top there was you make me feel by pat cowley and king of soul Sylvester James these 3 were so famous songs that were considered the 3 best songs in disco music a battle that ended in 1982 after the death of pat by the terrible and unknown hiv after getting his huge success mind warp,

"Try Me, I Know We Can Make It" is a song by American singer and songwriter Donna Summer from her third studio album A Love Trilogy album released in 1976. Summer's breakthrough had come in the form of the disco song "Love to Love You Baby" which in its entirety lasted almost seventeen minutes and took up the entire first side of the album of the same name. Due to its success (and also its success as a 12" maxi single) the format was repeated with the next album and with this song. In fact, "Try Me, I Know We Can Make It" actually lasted even longer than "Love To Love You Baby", clocking in at eighteen minutes. Edited versions were also released on the 7" single format. The song peaked at number eighty on the American pop chart and number thirty-five on the soul chart.[1] It was more popular with disco audiences, however, becoming Summer's second number one single on the dance chart in May 1976 and remaining atop that chart for

This should have been her first album, released on RSO Records in 1979. Here is the Tracklist: 1. No Two Ways About It 10:38 2. Caught in a Love Trap 9:47 3. Fading Into The Night 10:02 4. The Race Is On 6:20 5. Home Is in the Streets 6:07 Here is the story: Alabama-born Viola Billups formed The Gypsies with sisters Earnestine & Shirley Pearce from New York in the 60s. They landed in England in 1968, changed name to The Flirtations and recorded the classic soul album Sounds Like The Flirtations with the hit singles Nothing But A Heartache, Someone Out There, and Need Your Lovin'. By 1973 Viola left the group to go solo. Her first single Sad Old Shadow was released under the name Vie, after that she adopted the stage name Pearly Gates in 1974 for the single Johnny & The Jukebox. She became a well-known TV persona, starring alongside Cliff Richard in his BBC shows, and was also a regular in the series Hi Summer. By 1979 she teamed up with Ian Levine to record the album Fading

“Ring My Bell” was Anita Ward’s only hit song. Released in 1979, it hit No. 1 on both the BillboardHot 100 and Soul Singles charts and earned the artist a Grammy nomination. The song’s innuendo raised many eyebrows at the time, which is interesting because it was originally written for 11-year-old Stacy Lattisaw. R&B singer Frederick Knight originally wrote the song for teens about talking on the telephone, but when Lattisaw signed with a different label, he took the song to Ward. She originally didn’t like it, insisting it should capitalize on the disco trend, but even she didn’t want too many suggestive lyrics, since she started out as a gospel singer.

Ellie Hope and Liquid Gold     Two of the "disco-era's" biggest hits came from a group that  never  appeared in America. The U.K. based  Liquid Gold  consisted of Wally Rothe (drums), Ray Knott (bass), Syd Twynham (lead guitar) and Ellie Hope (vocals).          Ray met Ellie in 1976 when both auditioned as replacements for  Babe Ruth.  Babe Ruth had four albums between 1972-1975. Ray and Ellie contributed to  Babe Ruth's  last album  "Kid Stuff,"  before it disbanded.      Ray and Ellie then recruited Syd and Wally to form the  Dream Coupe.  The four played local bars and pubs doing mainly cover tunes while continuing to write there own material and seeking out a recording contract. Producer Adrian Baker happened to catch the group and was so intrigued by Ellie's vocals that he signed the group to Creole records and a one year contract.      As the newly christened  Liquid Gold  they played a few shows in London until their first record was released in O