The five-brother singing group Tavares may be best known for such up-tempo hits as the million-selling single "Heaven Must Be Missing an Angel," "More Than a Woman," and "Whodunit," but they first came to national attention with the luscious ballad "Check It Out." Their crisp vocalizing and clean-cut, young-men-next-door image made them... [+] Read More

The five-brother singing group Tavares may be best known for such up-tempo hits as the million-selling single "Heaven Must Be Missing an Angel," "More Than a Woman," and "Whodunit," but they first came to national attention with the luscious ballad "Check It Out." Their crisp vocalizing and clean-cut, young-men-next-door image made them favorites on TV shows starring Johnny Carson, Mike Douglas, and Dick Clark's American Bandstand. In 1974, Tavares also had the first hit version (number one R&B) of "She's Gone" written by the then relative unknown duo of Daryl Hall and John Oates. Hall & Oates scored a number seven pop hit with the song in 1976.

The Tavares brothers -- Arthur Tavares, Ralph Vierra Tavares, Perry Lee Tavares, Antone Tavares, and Feliciano Tavares nicknamed "Pooch," "Tiny," "Chubby," and "Butch" -- started the group in 1964 as Chubby and the Turnpikes in New Bedford, MA. Their grandparents taught them traditional Cape Verde folk songs, while their older brother John schooled them on doo wop singing. In 1969, the group became Tavares. They began singing in New England clubs and were signed to Capitol Records in 1973. Their debut album, Check It Out , was issued in early 1974. The title track slow jam single went to number five R&B on Billboard's charts in summer 1973. The next single, the ballad "That's the Sound That Lonely Makes," hit number ten R&B in early 1974. Check It Out was followed by Hard Core Poetry in summer 1974, helmed by songwriting/production duo Dennis Lambert & Brian Potter (the Four Tops' "Aint No Woman Like the One I Got"). It listed the soaring number ten hit "Too Late," the number one hit "She's Gone," and "Remember What I Told You to Forget," which hit number four in 1975. Lambert & Potter produced In the City (summer 1975), which yielded the driving number one hit "It Only Takes a Minute," "Free Ride" (a 1973 pop smash for the Edgar Winter Group), and "The Love I Never Had." Take That's 1993 cover of "It Only Takes a Minute" was a U.K. hit.

Tavares' album Sky High (spring 1976) was the group's first collaboration with producer Freddie Perren. Perren seemed to have an affinity for family singing groups, having had hits with the Jackson 5 ("I Want You Back," "ABC," "The Love You Save") as a member of the Motown arrangers/songwriters/producers collective The Corporation, and would later go to have hits with the Sylvers ("Boogie Fever"). Sky High boasted the sparkling number three R&B hit "Heaven Must Be Missing an Angel (Part 1)" from summer 1976. Their fifth LP, Love Storm was issued in spring 1977 and included the clever number one R&B hit "Whodunit" in spring 1977.

"More Than a Woman" was specifically written for Tavares by the Bee Gees and was issued as a single from the 11-million-selling Saturday Night Fever soundtrack. "More Than a Woman" was also on their Future Bound LP released in spring 1978. A greatest hits set, The Best of Tavares, was released in fall 1977. On 1979's Madame Butterfly LP, the group worked with Philly soul arranger/producer Bobby Martin (the Manhattans, LTD). The sweet ballad "Never Had a Love Like This Before" went to number five R&B in early 1979.

In 1994, Canadian label Unidisc released The Best of Tavares Revisited, which had re-recordings by the group of their past hits. ~ Ed Hogan, All Music Guide [-] Hide

Donna Summer's title as the "Queen of Disco" wasn't mere hype -- she was one of the very few disco performers to enjoy a measure of career longevity, and her consistent chart success was rivaled in the disco world only by the Bee Gees. Summer was certainly a talented vocalist, trained as a powerful gospel belter, but then again, so were many of... [+] Read More

Donna Summer's title as the "Queen of Disco" wasn't mere hype -- she was one of the very few disco performers to enjoy a measure of career longevity, and her consistent chart success was rivaled in the disco world only by the Bee Gees. Summer was certainly a talented vocalist, trained as a powerful gospel belter, but then again, so were many of her contemporaries. Of major importance in setting Summer apart were her songwriting abilities and her choice of talented collaborators in producers/songwriters Giorgio Moroder and Pete Bellotte, which resulted in a steady supply of high-quality (and, often, high-concept) material. But what was more, few vocalists could match the sultry, unfettered eroticism Summer brought to many of her best recordings, which seemed to embody the spirit of the disco era perfectly. The total package made Summer the ultimate disco diva, one of the few whose star power was even bigger than the music.

Summer was born LaDonna Andre Gaines on December 31, 1948, and grew up in Boston's Mission Hill section. Part of a religious family, she first sang in her church's gospel choir, and as a teenager performed with a rock group called the Crow. After high school, she moved to New York to sing and act in stage productions, and soon landed a role in a German production of Hair. She moved to Europe around 1968-1969, and spent a year in the German cast, after which she became part of the Hair company in Vienna. She joined the Viennese Folk Opera, and later returned to Germany, where she settled in Munich and met and married Helmut Sommer, adopting an Anglicized version of his last name. Summer performed in various stage musicals and worked as a studio vocalist in Munich, recording demos and background vocals. Her first solo recording was 1971's "Sally Go 'Round the Roses," but success would not come until 1974, when she met producers/songwriters Giorgio Moroder and Pete Bellotte while working on a Three Dog Night record. The three teamed up for the single "The Hostage," which became a hit around Western Europe, and Summer released her first album, Lady of the Night, in Europe only. In 1975, the trio recorded "Love to Love You Baby," a disco-fied reimagining of Serge Gainsbourg and Jane Birkin's lush, heavy-breathing opus "Je T'aime...Moi Non Plus." Powered by Summer's graphic moans, "Love to Love You Baby" became a massive hit in Europe, and drew the attention of Casablanca Records, which put the track out in America. It climbed to number two on the singles charts, and became a dance-club sensation when Moroder remixed the track into a 17-minute, side-long epic on the LP of the same name.

In the wake of "Love to Love You Baby," albums (as opposed to just singles) became an important forum for Summer and her producers. The 1976 follow-up Love Trilogy contained another side-long suite in "Try Me (I Know We Can Make It Work)," and demonstrated Moroder and Bellotte's growing sophistication as arrangers with its lush, sweeping strings. Four Seasons of Love, released later in the year, was a concept album with one track dedicated to each season, and 1977's I Remember Yesterday featured a variety of genre exercises. Despite the album's title, it produced the most forward-looking single in Summer and Moroder's catalog, the monumental "I Feel Love." Eschewing the strings and typical disco excess, "I Feel Love" was the first major pop hit recorded with an entirely synthesized backing track; its lean, sleek arrangement and driving, hypnotic pulse laid the groundwork not only for countless Euro-dance imitators, but also for the techno revolution of the '80s and '90s. It became Summer's second Top Ten hit in the U.S., and she followed it with Once Upon a Time, another concept album, this one retelling the story of Cinderella for the disco era.

Summer's albums were selling well, bolstered by her popularity in the dance clubs, and she was poised to become a major pop hitmaker as well. Her acting turn in the 1978 disco-themed comedy Thank God It's Friday produced another hit in "Last Dance," which won her a Grammy for Best Female R&B Vocal (as well as an Oscar for songwriter Paul Jabara). Doubtlessly benefiting from the added exposure, the double-LP set Live and More became Summer's first number one album later that year. It featured one side of new studio material, including a disco cover of the psychedelic pop epic "MacArthur Park" that became her first number one pop single early the next year. Her 1979 double-LP Bad Girls featured more of her songwriting contributions than ever, and went straight to number one, as did the lusty singles "Bad Girls" and the rock-oriented "Hot Stuff," which made Summer the first female artist ever to score three number one singles in the same calendar year. Her greatest-hits package On the Radio also topped the charts, the first time any artist had ever hit number one with three consecutive double LPs; the newly recorded title track became another hit, and Summer's duet with Barbra Streisand, "No More Tears (Enough Is Enough)," became her fourth number one single.

At the peak of her success, Summer decided to leave Casablanca, and became the first artist signed to the new Geffen label. Sensing that the disco era was coming to a close, Summer attempted to modify her style to include more R&B and pop/rock on her first Geffen album, 1980's The Wanderer; the album and its title track were both hits. Not wanting to alienate her core audience, Summer returned to pure dance music on an attempted follow-up; however, Geffen deemed I'm a Rainbow not worthy of release (it was finally issued in 1996). Instead, Summer ended her collaboration with Moroder and Bellotte and teamed up with Quincy Jones for 1982's Donna Summer. "Love Is in Control (Finger on the Trigger)" was a significant hit, but none of its follow-ups did very well. With producer Michael Omartian, Summer moved back into post-disco dance music and urban R&B with 1983's She Works Hard for the Money; its title track was a smash and became a feminist anthem of sorts. However, with her career momentum slowing, it also marked the end of Summer's prime. Despite winning a gospel Grammy for "Forgive Me," Summer's 1984 follow-up Cats Without Claws flopped, as did the 1987 comeback effort All Systems Go. Hiring the British production team of Stock, Aitken & Waterman, Summer scored her last major success with the 1989 Top Ten single "This Time I Know It's for Real," from the album Another Place & Time; around the same time, she began denouncing her earlier, "sinful" disco material. 1991's lackluster, urban-styled Mistaken Identity effectively killed her career momentum, and none of her new '90s albums produced that elusive hit. However, she did make some noise on the dance charts with "Melody of Love," from the excellent 1994 retrospective Endless Summer, and reunited with Moroder for the 1997 non-LP single "Carry On," which won the inaugural Grammy for Best Dance Recording. Summer subsequently signed a deal with Sony, which primed her for re-establishment with the 1999 greatest-hits live album VH1 Presents: Live and More Encore!; it featured the new song "I Will Go With You (Con Te Partiro)," which had some success on the dance charts. ~ Steve Huey, All Music Guide [-] Hide

Along with the Village People, '70s disco artist Sylvester was one of the few artists of the era not afraid to openly acknowledge his homosexuality. Born Sylvester James during September 1944 in Los Angeles, CA, Sylvester was introduced to music at an early age by his grandmother, Julia Morgan, who was a jazz singer. While still a youngster,... [+] Read More

Along with the Village People, '70s disco artist Sylvester was one of the few artists of the era not afraid to openly acknowledge his homosexuality. Born Sylvester James during September 1944 in Los Angeles, CA, Sylvester was introduced to music at an early age by his grandmother, Julia Morgan, who was a jazz singer. While still a youngster, Sylvester began singing in gospel groups, while finding further inspiration from the likes of Bessie Smith and Billie Holiday, among others. After relocating to San Francisco in the late '60s, Sylvester began to perform in a musical production called Women of the Blues, before becoming the star attraction of a transvestite vocal group called the Cockettes in the early '70s. After leaving the band in 1973, Sylvester signed on with the Hot Band and issued such releases as Scratch My Flower and Bazaar the same year. Sylvester's dance-happy funk style eventually transformed into disco, as his flamboyant and over-the-top stage act created quite a following for the singer in the San Francisco area. He also issued some of his best-known recordings around the end of the decade -- 1977's Sylvester and 1979's in-concert Living Proof -- while racking up such popular disco hits as "You Make Me Feel (Mighty Real)" and "Dance (Disco Heat)."

1979 saw Sylvester receive three Billboard awards and another for Best Male Disco Act from Disco International Magazine, as well as landing a bit part in Bette Midler's 1979 movie, The Rose. But by the dawn of the '80s, disco was being considered increasingly passé and the singer's career began to slow down (funny enough, Sylvester's backup singers, Martha Wash and Izora Rhodes, would go on to form the Weather Girls, and score one of 1982's big dance hits with "It's Raining Men"). Although he continued to issue albums throughout the '80s, Sylvester's career came to an abrupt and tragic end on December 16, 1988, when he died from AIDS-related complications. Despite his passing, Sylvester's music remains popular on dance floors worldwide, while "You Make Me Feel (Mighty Real)" has been covered over the years by three separate artists: former lead singer of Bronski Beat and the Communards Jimmy Somerville (on his 1989 solo debut Read My Lips), comedian/actor/singer Sandra Bernhard (on her 1994 release Excuses for Bad Behavior, Pt. 1), and by former Ten City lead singer Byron Stingily (on his 1998 solo debut, The Purist), whose version hit number one on the U.S. dance chart the same year. ~ Greg Prato, All Music Guide [-] Hide

Best known for their work with Chic in the late '70s, siblings Debbie, Kim, Joni, and Kathy Sledge -- collectively Sister Sledge -- reached the height of their popularity during the disco era but had been recording since the early '70s and were still active in the late '90s. The group was formed in Philadelphia in 1971, when the sisters' ages... [+] Read More

Best known for their work with Chic in the late '70s, siblings Debbie, Kim, Joni, and Kathy Sledge -- collectively Sister Sledge -- reached the height of their popularity during the disco era but had been recording since the early '70s and were still active in the late '90s. The group was formed in Philadelphia in 1971, when the sisters' ages ranged from 12 to 16, and they recorded their first single, "Time Will Tell," for the Philly-based Money Back label. (For the first few years, the group called itself Sisters Sledge.) In 1972, Sister Sledge signed with Atco and recorded its second single, "Weatherman," which was followed by the Jackson 5-like "Mama Never Told Me" in 1973.

Sister Sledge's first national hit came in 1974, when "Love, Don't You Go Through No Changes on Me" reached number 31 on the R&B charts and the Philadelphians recorded their debut album, Circle of Love. Their second album, Together, was released in 1977 and contained the number 61 R&B hit "Blockbuster Boy." It wasn't until 1979, when Chic leaders Nile Rodgers and Bernard Edwards produced We Are Family, that Sister Sledge really exploded commercially. "He's the Greatest Dancer" and We Are Family's title song both soared to number one on the R&B charts, and the latter (a number two pop smash) was adopted as a theme by the World Series-winning Pittsburgh Pirates.

Sister Sledge's next album, Love Somebody Today (1980), was also produced by the Rodgers/Edwards team, and the single "Got to Love Somebody" became a number six R&B hit. In 1981, Sister Sledge switched producers and worked with Narada Michael Walden, who produced 1981's excellent All American Girls. The title song was a number three R&B hit, and in 1982, Sister Sledge had a number 14 R&B hit with a cover of Mary Wells' "My Guy" that appeared on The Sisters. But after that, the foursome's popularity faded, and it never had another Top 20 hit in the U.S. -- although 1985's "Frankie" (a number 32 R&B hit in the States) became a pop number one hit in England. Sister Sledge left Atlantic for good in 1985, but its members kept busy in the 1990s. Epic released Kathy's debut solo album, Heart, in 1992, and 1997 found the sisters recording a risk-taking date, African Eyes, arguably one of the finest albums they ever recorded. ~ Alex Henderson, All Music Guide [-] Hide

As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. In 1960, they were signed... [+] Read More

As a solo artist, Diana Ross is one of the most successful female singers of the rock era. If you factor in her work as the lead singer of the Supremes in the 1960s, she may be the most successful. With her friends Mary Wilson, Florence Ballard, and Barbara Martin, Ross formed the Primettes vocal quartet in 1959. In 1960, they were signed to local Motown Records, changing their name to the Supremes in 1961. Martin then left, and the group continued as a trio. Over the next eight years, the Supremes (renamed "Diana Ross and the Supremes" in 1967, when Cindy Birdsong replaced Ballard) scored 12 number one pop hits. After the last one, "Someday We'll Be Together" (October 1969), Ross launched a solo career.

Motown initially paired her with writer/producers Nickolas Ashford and Valerie Simpson, who gave her four Top 40 pop hits, including the number one "Ain't No Mountain High Enough" (July 1970). Ross branched out into acting, starring in a film biography of Billie Holiday, Lady Sings the Blues (November 1972). The soundtrack went to number one, and Ross was nominated for an Academy Award.

She returned to record-making with the Top Ten album Touch Me in the Morning (June 1973) and its chart-topping title song. This was followed by a duet album with Marvin Gaye, Diana & Marvin (October 1973), that produced three chart hits. Ross acted in her second movie, Mahogany (October 1975), and it brought her another chart-topping single in the theme song, "Do You Know Where You're Going To." That and her next number one, the disco-oriented "Love Hangover" (March 1976), were featured on her second album to be titled simply Diana Ross (February 1976), which rose into the Top Ten.

Ross' third film role came in The Wiz (October 1978). The Boss (May 1979) was a gold-selling album, followed by the platinum-selling Diana (May 1980) (the second of her solo albums with that name, though the other, a 1971 TV soundtrack, had an exclamation mark). It featured the number one single "Upside Down" and the Top Ten hit "I'm Coming Out."

Ross scored a third Top Ten hit in 1980 singing the title theme from the movie It's My Turn. She then scored the biggest hit of her career with another movie theme, duetting with Lionel Richie on "Endless Love" (June 1981). It was her last big hit on Motown; after more than 20 years, she decamped for RCA. She was rewarded immediately with a million-selling album, titled after her remake of the old Frankie Lymon and the Teenagers hit, "Why Do Fools Fall in Love," which became her next Top Ten hit. The album also included the Top Ten hit "Mirror, Mirror."

Silk Electric (October 1982) was a gold-seller, featuring the Top Ten hit "Muscles," written and produced by Michael Jackson, and Swept Away (September 1984) was another successful album, containing the hit "Missing You," but Ross had trouble selling records in the second half of the 1980s. By 1989, she had returned to Motown, and by 1993 was turning more to pop standards, notably on the concert album Diana Ross Live: The Lady Sings...Jazz & Blues, Stolen Moments (April 1993).

Motown released a four-CD/cassette box set retrospective, Forever Diana, in October 1993, and the singer published her autobiography in 1994. Take Me Higher followed a year later, and in 1999 she returned with Every Day Is a New Day. 2000's Gift of Love was promoted by a concert tour featuring the Supremes, although neither Mary Wilson nor Cindy Byrdsong appeared -- their roles were instead assumed by singers Lynda Laurence and Scherrie Payne, neither of whom ever performed with Ross during the group's glory days. ~ William Ruhlmann, All Music Guide [-] Hide

With an earlier, very similar Rhino anthology now out of print, Casablanca's 14-track The Best of Village People stands as the clear-cut choice for disco and camp fanatics who want a detailed portrait of the group's career. This collection includes both the 7" and 12" versions of their two Top Five pop hits, "Y.M.C.A." and "In the Navy," plus... [+] Read More

With an earlier, very similar Rhino anthology now out of print, Casablanca's 14-track The Best of Village People stands as the clear-cut choice for disco and camp fanatics who want a detailed portrait of the group's career. This collection includes both the 7" and 12" versions of their two Top Five pop hits, "Y.M.C.A." and "In the Navy," plus the 12" version of their other signature tune, "Macho Man." There's also a generous selection of lesser-known club hits, including their debut single, "San Francisco (You've Got Me)," "Go West," "Can't Stop the Music," and "Ready for the '80s," plus B-sides like "Key West" and "In Hollywood (Everybody Is a Star)." Self-explanatory cuts like "Fire Island" and "Hot Cop" don't really bother disguising the Village People's target audience, although the Rhino inclusion "Sodom and Gomorrah" is missing here. Even so, it's hard to imagine anyone being dissatisfied with such a generally thorough retrospective, and it's probably more than some casual fans will need in the first place. ~ Steve Huey, All Music Guide [-] Hide

Although B.T. Express didn't have that many major radio hits, the New Yorkers' extremely danceable funk reigned supreme in the clubs (especially Black clubs). "Do It (Til You're Satisfied)," "Peace Pipe," "Shout It Out" and "Express" are among the handful of jams on this engaging 15-song CD that were actually sizable hits on Black radio; most of... [+] Read More

Although B.T. Express didn't have that many major radio hits, the New Yorkers' extremely danceable funk reigned supreme in the clubs (especially Black clubs). "Do It (Til You're Satisfied)," "Peace Pipe," "Shout It Out" and "Express" are among the handful of jams on this engaging 15-song CD that were actually sizable hits on Black radio; most of the other songs, however, don't fit that description. But play this collection for anyone who deejayed in a Black club in the 1970s, and chances are they'll know most of the material. Express, a major influence on East Coast units like the Brass Construction and Mass Production, was very much a party band, and addictive album tracks like "This House Is Smokin'" and "Once You Get It" found their way to club turntables without ever coming out as singles. Although pleasant enough, a cover of Burt Bacharach & Hal David's "Close To You" shows that ballads were never the Express' strong point (which is truly ironic, given that one of its members, Kashif, would become known as a top R&B love man in the 1980s). And the 1980 recordings "Stretch" and "Does It Feel Good" are pretty generic, but on the whole, this disc is something funksters should savor. ~ Alex Henderson, All Music Guide [-] Hide

Includes horn-based dance hits and despondent pop ballads. ~ Bil Carpenter, All Music Guide

Includes horn-based dance hits and despondent pop ballads. ~ Bil Carpenter, All Music Guide [-] Hide

[-] Hide

The Best of Yvonne Elliman is the first comprehensive collection ever assembled on the '70s pop/disco diva. Elliman first came to attention as Mary Magdalene in the London production of Jesus Christ Superstar (from which "I Don't Know How to Love Him" and "Everything's Alright" is included), but she shot to fame as part of the Eric Clapton Band,... [+] Read More

The Best of Yvonne Elliman is the first comprehensive collection ever assembled on the '70s pop/disco diva. Elliman first came to attention as Mary Magdalene in the London production of Jesus Christ Superstar (from which "I Don't Know How to Love Him" and "Everything's Alright" is included), but she shot to fame as part of the Eric Clapton Band, which eventually led to her placement on the Saturday Night Fever soundtrack. Saturday Night Fever launched her biggest hit, "If I Can't Have You," which branded her as a one-hit wonder. The Best of Yvonne Elliman doesn't really disprove that -- there's a lot of filler here, even if it culls 16 highlights from her entire career -- but it does demonstrate that she possessed a pleasant, professional voice and did make several enjoyable pop/disco records, which happened to be her singles. Which, of course, makes The Best of Yvonne Elliman not only a terrific introduction, but also all you need to know. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide