Thank God It's Friday : THE SOUNDTRACK ...What went wrong ?

[remicks]

*****

Never mind the abysmal movie itself stewarded by these two rather novice filmworks companies --Casablanca and Motown .

...It's the resulting music itself that is the mystery . How did these two musical giants fall so short in delivering the collective masterpiece that should've been the result? By putting these two together , you'd expect such a combination to have magnified the music . A collection waaaay beyond any other .....

Yet when reviewing the music these two powerhouses were able to compile for this endeaver ....well .... the question for me is ........ What went wrong?? :-? :-?

Especially Motown's weak contributions . Excluding the value that their artists' name recognition provided , the inclusion of the Motown selections only dimenshed the music's sum total quality . (i.e. Casablanca would've fared better just going it alone )
Of the 18 songs, I find a measly six of them worth investing much time listening to ......( highlighted in purple) Then there's not even a handful of others that maybe can survive casual play. The rest , including the Motown tracks ..... I skip over ...

01. LOVE AND KISSES: Thank God It's Friday 4:17
02. PATTIE BROOKS: After Dark7:54
03. DONNA SUMMER: With Your Love 4:02
04. DONNA SUMMER: Last Dance 4:38
05. PAUL JABARA: Disco Queen 8:12
06. CAMEO: Find My Way 3:49
07. THE COMMODORES: Too Hot Ta Trot 4:59
08. WRIGHT BROS. FLYING MACHINE: Leatherman's Theme
09. MARATHON: I Wanna Dance3:27
10 SUNSHINE: Take It To The Zoo
11 SANTA ESMERALDA: Sevilla Nights5:56
12 . LOVE AND KISSES: Your The Most Precious Thing In My Life 6:09
13 D.C. LaRUE: Do You Want The Real Thing7:57
14 PAUL JABARA: Trapped In The Stairway
15 NATURAL JUICES: Floyd's Theme
16 DIANA ROSS: Lovin , Livin' And Givin' 4:43
17 THELMA HOUSTON: Love Masterpiece
18 DONNA SUMMER: Last Dance (Reprise)
19 DONNA SUMMER: Je T'aime (Moi Non Plus)

I wonder what the whole story was ? Why was Motown's contribution to the movie's music so subpar ? Why didn't they deliver ?? Is this just a refelction of the sad state of Motown during this period? Two of their big disco names, Ross and Houston ... the best they had to offer were these two forgettable numbers?? And the Commodores ... a rehash tune of theirs ? And only an average one at that ?? :P :-? ....

Too bad Stevie didn't contribute .. Eddie Kendricks? Bonnie Pointer? Smokey? Was Marvin off the label by then ?

I wonder what went awry?
Any input ??

****

[Salsoul1975]

Despite the reviews it received when it was released, THANK GOD IT'S FRIDAY did well at the box office and the soundtrack made the Top Ten, going platinum in the process.

The soundtrack as a whole wasn't the problem; it was how the music was presented in the movie that was. In virtually every scene a new song appeared, and it left little time for the songs to develop into the movie's scenario and act as a defining "moment". However, there was one instance in which this was executed: Marv Gomez' ("The Leatherman") dancing on top of the cars in the parking lot to "Leatherman's Theme". I can remember seeing this clip many moons ago on a TV special about popular music in cinema. I wouldn't bother to include Donna Summer's "Last Dance" only because she performed it live on the set and can't truly compare to the scene stopper by Marv Gomez midway in the film.

Motown's contribution to disco was minimal compared to other large record labels of its time. True, some of its artists did perform disco music like Thelma Houston and Diana Ross but in all fairness they weren't disco "acts" per se, especially Ross.

Motown's involvement in TGIF was most likely done as an attempt to showcase some of their acts in a disco film. This was not Casablanca Records' first go-round in cinema; a year earlier they had released THE DEEP, which was a success. Since a record label like Casablanca had dived into the filmmaking waters, Motown saw an oppurtunity to do likewise.

Since the TGIF soundtrack was released on Casablanca, it's a no-brainer that the majority of the songs would be from that label. I do agree that many of the songs on the official soundtrack were lightweight; many great songs heard throughout the film were omitted on the album. A few examples:

"From Here To Eternity"-Giorgio
"Hollywood"-Village People
"Love To Love You Baby"-Donna Summer

Motown probably suffered the worst fate when it came to the inclusion of its music on the album. Songs heard in the film such as "Down To Love Town" by the Originals, "I'm Here Again" by Thelma Houston and "Easy" by the Commodores were omitted in favor of making room for subpar material put out by Casablanca.

In a sense, Motown didn't have to worry about any flak that would result from the movie, only because it rested on Casablanca's shoulders. Of course, Motown would get hit on the head with a ton of bricks with the release of The Wiz a few months after TGIF's premiere.

[remicks]

*****

Interesting input Salsoul '75. I can't commment on the movie itself since I haven't seen it in years. I do remember it being gawd-awful and my total disappointment .... me sort of slinking quietly out of the theatre after seeing it. It was just more fodder for the other side ..... those hell-bent on trivializing disco ..... one more way to deride it as sillly and shallow.

The soundtrack as a whole wasn't the problem; it was how the music was presented in the movie that was.

This score was spliced and diced all over the place .....so I think both elements added to the problem .....the music itself and the way it was intregrated into the film

Motown's contribution to disco was minimal compared to other large record labels of its time. True, some of its artists did perform disco music like Thelma Houston and Diana Ross but in all fairness they weren't disco "acts" per se, especially Ross.

I do wish Motown had embraced disco even more agressively. But they weren't exactly a small time player either . They had their own disco sleeves and run of 12" releases (not enough ) that were both commercial and supplied to the pools.... as well as disco compilation albums .... so they were in tune to the scene ..and from early on. Several Motown disco releases are amongst the cream at the top above all else .

As far as Diana and Thelma ..without her disco support during the second half of the 70's Diana would've been under the radar pretty much in the industry and Thelma Houston ..without her one across-the-board smash single "DON'T LEAVE THIS WAY " .... she would have no legacy beyond the disco circuit . ...

Motown's involvement in TGIF was most likely done as an attempt to showcase some of their acts in a disco film.

Exactly . So why would they then submit such crappy material with which to represent??????

Especially for Diana Ross. Motown was offering her upfront and center. I would have thought that Berry Gordy .... knowing his Diana would be going one -on-one in sharing top billing on an album with rival and up-and-comer Donna Summer , would've made sure his girl arrived at this showdown with something designed to blow this new diva out of the water !!!

Anyone that bought TGIF because of the included Diana Ross material ( or Thelma Houston) had tio have felt ripped off .... whereas for her fans : ......Donna Summer delivered.
Yes it was Casablanca's baby ..... but once Motown decided to participate ..... their goal should've been to remind the record buying public who the one all-time great soul/dance label really was ....

You mentioned "THE WIZ" Salsoul'75 ...... maybe Motown was too engrossed in that film .... and when it came time to produce for "TGIF " they got caught with their pants down . Part of the mystery for me remains ...... where were all those other Motown artists during this time ???


*****

[discotom73]

Maybe it came out at the wrong time. People liked "Saturday Night Fever" and think no other movie can top that! I do agree that the soundtrack for the movie is awesome and worth listening to over and over again!

[remicks]

*****

Gee ... it came out in 1978 ....... right in the middle of the disco era. When would've been a " better time " ???

*****

[markydefad]

It's always about THE SCRIPT!!!! Tt sucked...therfore so did the movie. It was a cheap-quicky-get-it-in-the-theaters-as-soon-as-possible anyway--just trying to capitalize on the disco market. :roll:

I do think you should put Donna's With Your Love in the keeper list. Love that!!! :D :D :D

And the remix of Miss Ross into a Giorgio Moroderesque diva was stunning.. I'm also partial to Thelma's Love Masterpiece although it's almost too frantic to dance to...but I like the melody-- based on some classical piece I would think???? :-?

[Salsoul1975]

One of the reasons why Motown might not have embraced disco the way other labels had done was because Motown had made a name for itself in its greatest decade, the '60s. When Motown headed for Los Angeles in 1972, the magic was beginning to erode. The R&B/pop crossover success they enjoyed for years was slowing down. While artists like Diana Ross, Stevie Wonder and the Jackson 5 were not affected by this trend throughout the decade, others suffered that fate. With the exception of "Papa Was A Rollin' Stone" and "Masterpiece" (both made the R&B/Pop Top Ten in 1973), the Temptations spent the '70s only reaching the R&B masses; their pop success was close to nil. Eddie Kendricks had two big hits with "Keep On Truckin'" and "Boogie Down" in late 1973/early 1974, but again, success was on the R&B charts; pop success was mediocre. The Commodores were probably the only Motown act in the second half of the '70s to enjoy massive R&B/pop crossover success. Many of their long established acts, like Marvin Gaye, were either inactive or only had success on the R&B charts with their material.

Perhaps because of their success a decade earlier, Motown felt that by embracing disco they would cheapen their product (or perhaps reputation).

There was no doubt that Donna Summer was TGIF's princess, for she was represented the most on the soundtrack. However, it shouldn't come as a surprise that her recordings were the most satisfying. Many people may not know that she contributed to a song on the soundtrack called "Take It To The Zoo", credited to a group called Sunshine (which turned out to be the sisters of Summer, who later became her backing vocalists). Summer co-wrote that song.

TGIF was released during the post-peak period of "Saturday Night Fever". It couldn't have been released at a better time than it was because the spring of 1978 was a period when disco was in its halcyon stage before it literally conquered the universe, and then fell from grace.

[remicks]

*****

"I do think you should put Donna's With Your Love in the keeper list"

OK Marky duly noted. I'm listeninmg to it now ...it's ..... listenable :P ..... Sounds like one that couldn't qiute get squeezed onto the "ONCE UPON A TIME " album ..... which isn't a bad thing . I guess I have a hard time with the distracting sci-fi aliens-are-coming synth sound ..... and there are times when a singer repeats the same line over and over .... and over ..... such as "with your looove .... " ....that I'd finally almost rather they just shut the up !!! :D :P

Back to this soundtrack ...... Casablanca does pretty good at covering their roster here ...and hey ....some of their roster wasn't all that great ..... the tinny /thinness of this album's pressing doesn't help any of it .....

Any idea why Motown seems to have delivered so little ?? Where 's their roster ??? There has to be a story. Maybe they signed on late .....

And the remix of Miss Ross into a Giorgio Moroderesque diva was stunning.. I'm also partial to Thelma's Love Masterpiece although it's almost too frantic to dance to...but I like the melody-- based on some classical piece I would think????

I don't know about stunning .....unless you mean it just lays there flat as if zapped by a stun gun ! :P :D :P

You are right "LIVIN" LOVIN" GIVIN" is very Moroderesque ....so it appears as though at this point Motown was chasing Casablanca ......trying to emmulate their sound. The same thing for Thelma's number . It's very Pattie Brooks/ "hallelujah" type disco . Maybe Casablanca sent Motwon some demos of the music they planned to use .... and Berry said ...that 's the sound we're after guys and gals ..... :-?

*****

[paul]

Just my 2 cents.
To put it kindly, it was a film for middle America. Very vanilla, very plain. I certainly didn't want to waste the little disposable money I had then to see it when I was living it.
Because the movie was so bland, the soundtrack couldn't help but be equally weak.

[remicks]

*****

Perhaps because of their success a decade earlier, Motown felt that by embracing disco they would cheapen their product (or perhaps reputation).

Salsoul75 ...... can't go along with that . If that were true ..... Motown would've never signed on to this project ...... a disco movie about discos with disco music ..... in the first place ....


When it comes to the music itself ...this is what still baffles me ..
... Motown +Casablanca = :oops: :oops: ????


Using the combined music pools of these two mega music entities to create one mighty disco soundtrack ....well I would have predicted the result to have been the greatest compilation imaginable ..... Saturday Night Fever X 10 !!


****

[ol'skinflint]

about the quality of the film and its soundtrack; I totally agree with the statement that it was probably rushed out to capitalize on disco's then current popularity. To me, the film and soundtrack themselves are less important than the fact that both remind me of some of the best times I had during the disco era. Other films with similar themes, better scripts and more intense music don't even come close. I'm not ashamed to admit that I still watch the film and listen to the soundtrack even today. The warm memories that "TGIF" brings to my mind are precious to me. Both the film and the soundtrack stomp all over another film and soundtrack from the same era. Anyone remember the film version of "Sgt. Pepper?"

[Salsoul1975]

What made the "Saturday Night Fever" soundtrack work was that the movie complimented the music (and vice-versa). TGIF did neither (with few exceptions) because, as I mentioned earlier, the songs were slammed on there in a manner that they were not given the chance to breathe and define a particular moment. RSO was not a disco label per se when the SNF soundtrack was released in December, 1977. The Bee Gees' blue-eyed soul approach to popular music worked across-the-board prior to SNF, and with the release of its soundtrack, they dominated the pop and R&B charts in a way other artists would only dream of (except the Beatles in their early-mid 1964 days).

SATURDAY NIGHT FEVER-soundtrack: #1 for 24 consecutive weeks (January 21, 1978 to July 1, 1978)
STAYIN' ALIVE-Bee Gees: #1 for 4 weeks (February 4-25, 1978)
NIGHT FEVER-Bee Gees: #1 for 8 weeks (March 18, 1978 to May 6, 1978)
HOW DEEP IS YOUR LOVE-Bee Gees: #1 for 3 weeks (December 24, 1977-January 7, 1978)
IF I CAN'T HAVE YOU-Yvonne Elliman: #1 (May 13, 1978)
DISCO INFERNO-Trammps: #11 (May 27, 1978)
MORE THAN A WOMAN-Tavares: #32 (March, 1978)
BOOGIE SHOES-K.C. and the Sunshine Band: #35 (March, 1978)

In a six-month period roughly between January and June, 1978, RSO Records was perhaps the most successful label in popular music. RSO artist Andy Gibb (brother of the Bee Gees' members) had a #1 record between "Stayin' Alive" and "Night Fever" with "Love Is Thicker Than Water" (#1 for 2 weeks, March, 1978). Another RSO artist, Eric Clapton, reached #3 with "Lay Down Sally" (also in March, 1978). Player, yet another RSO artist, reached #1 on January 14, 1978 with "Baby Come Back" (stayed at #1 for 3 weeks). Between December 24, 1977 and July 1, 1978, RSO had the #1 position on either the Hot 100 or albums charts.

Casablanca and Motown would never experience this type of chart dominance, be it the pop or R&B chart in a short span of time.

THANK GOD IT'S FRIDAY-soundtrack: #10 (July 8, 1978)
LAST DANCE-Donna Summer: #3 (August 12, 1978)
THANK GOD IT'S FRIDAY-Love and Kisses: #22 (July, 1978)
TOO HOT TO TROT-Commodores: #1 R&B (February 18, 1978); #32 (March, 1978)

It is inevitable that TGIF would not experience the same hysteria that SNF did, and it wasn't just because of the movie's plot or music. SNF had a message that hit home with audiences from all walks of life; TGIF didn't have much of a plot except the goings-on at a disco on a Friday night. Both movies are associated with the disco era of the late '70s, but had TGIF been released at the time when disco was the music of the world (mid-1979), its success would probably have been greater and the musical selection would probably be more focused and refined.

[remicks]

****

It is inevitable that TGIF would not experience the same hysteria that SNF did

Why was it inevitable ??? :-?

SNF had set the bar . Casablanca /Motown wanted a piece of it . They knew what they were shooting for . Regardless of the movie itself ...these two enormous labels should have been able to one up RSO when it came to designing a soundtrack.

but had TGIF been released at the time when disco was the music of the world (mid-1979), its success would probably have been greater and the musical selection would probably be more focused and refined.

I again ask why ?? Both Motown and Casablanca were very capable in 1978 , I don't see what would have made them more focused and refined a year later ..... RSO had already figured it out and pulled it off ..... and the timing , fairly hot off the heals of SNF ..... was perfect....

*****

[Salsoul1975]

Publically, Neil Bogart was convinced that TGIF's soundtrack would sell every copy it shipped when it was released weeks before the movie came to the silver screen. It didn't happen. Yes, it went Top Ten and went platinum, but it was by no means a counterpart to SNF's soundtrack.

Casablanca and Motown definitely wanted to experience the same type of success SNF had by making a movie centered around disco music. I wouldn't exactly call Casablanca an enormous label, especially when pairing it with Motown. If you think about it, Casablanca's heyday was between 1975-80; that was only five years.

What made the SNF soundtrack work was that there was such a plethora of tracks on there with depth and reasonable time lengths. Even the fourth side, with only three tracks, was satisfying enough that it didn't sound like filler. Unfortunately, too much of the TGIF soundtrack contained time-inflated tracks that was only done to fill album sides. As an aside, my biggest pet peeve with Casablanca was their one-sided only 12" records; this meant that record buyers were only getting one record for the list price while others had double-sided tracks for the same price. Very good strategizing on Neil Bogart's part, especially when it came to making a buck. :evil:

Casablanca's success took off after Donna Summer's "Last Dance" and the Village People's "Macho Man" peaked on the charts; it wasn't until November, 1978 that Casablanca had the #1 single (Summer's "MacArthur Park") and #1 album (Summer's "Live And More") simultaneously. Then came success with Summer and Village People's follow-up singles and albums, along with Cher's "Take Me Home" in mid-1979; that was when Casablanca reached the pinnacle. That would've been the perfect time to release TGIF. Prior to the movie's release, the only act on the label's roster that amassed enourmous sales and popularity was Kiss; remember, they were the first successful act for the label. Donna Summer was popular and had successful albums too, but not on the same scale Kiss did. Keep in mind, prior to SNF, disco had yet to become universal.

[remicks]

*****

If you think about it, Casablanca's heyday was between 1975-80; that was only five years.

Yes ....and what accounted for that heyday? ..... disco . And what was the TGIF soundtrack about : disco !

I am seeing what you are saying about Casablanca's rather weak roster at this point . (Where was Meco?) I wonder why Cameo had nothing new ? Parliament?? Who could know that Paul Jabara and DC LaRue would turn in such duds . ( When they turned in their material someone should've sent them right back into the studio)
BUT .... RSO didn't have much of a roster either ..... basically .....the Bee Gees. (And I would categorize much of the SNF LP as filler ..... outside of the Bee Gees and The Trammps and maybe Tavares ....)
We still seem to be sidestepping Motown's pitiful role .... which is what bothers me the most .... why wasn't there more of Motown's muscle in this ?? ?? The clubs were hungry and ready for more Stevie .... more Eddie ..... more Marvin .... not to mention The Temptations , The Miracles , The Originals, and Granny from The Beverly Hillbillies .......


*****

[Salsoul1975]

Were the clubs hungry and ready for more Stevie Wonder, Marvin Gaye, Smokey Robinson, Eddie Kendricks, etc.? What happened, happened.

With the exception of the disco-oriented "Another Star" (#32, Pop; 1977), Wonder's music was not custom-made for the typical disco floor. The same can be said for Robinson, despite having a disco chart single with the sparse "Baby That's Backatcha" (#1 R&B, #26 Pop) in mid-1975. Eddie Kendricks had some early club hits that didn't cross over until "Keep On Truckin'" (#1 R&B and Pop) and "Boogie Down" (#1 R&B, #2 Pop) in 1973-74. He had a few more disco-charted hits but crossover success was mediocre and then disappeared from the charts. The Originals had a #1 disco hit with "Down To Love Town" (1976) which fared better on the Pop chart (#47) than it did on the R&B chart (#93). Motown didn't push themselves in the disco market they way other large labels did; that is the reality. If you want to know why, ask Berry Gordy.

As for Casablanca's roster, Parliament was funk; with exceptions, funk didn't always translate to a disco floor. Same with Cameo. "Find My Way" was probably the most disco-sounding record they did at the time. One of their records, "It's Serious", was heard in the TGIF movie but not included on the soundtrack.

[pepper1dancer]

I heard through my little bro that the TGIF soundtrack album is a collectors item. Any truth to this?

[Mixmachine]

I heard through my little bro that the TGIF soundtrack album is a collectors item. Any truth to this?

This movie soundtrack was released on a limited promotional package for DJs only, the Album contained like 4 or 5 (my copies are scattered so I forgot how many exactly) special one sided 12s, this package was difficult to get even back then as only a limited amount were distributed to the Record Pools, even though I was a member I still had to buy my copy, but it was well worth it if you were Djing, 12s of "Last dance" "with your love" "After Dark" both Love and Kisses etc were not available at the time.

[FlyRobinFly]

I'm really enjoying this informative exchange here between you two. Salsoul, you are obviously very well informed and this is a learning experience for me.

As much as I love disco and the Motown sound it does seem that many a hit could have been made for those artists/groups mentioned. Berry Gordy was somewhat of a genius but I can't help thinking that there was definately something missing on the TGIF. I was so dissappointed with this 4 record set full of nothing. LOOKED like there should have been a great tune from the Temps or somebody sounding like a follow-up sound for the Trammps' Disco Inferno.

For all of the songs included, there were only a FEW worth listening to more than once like those on your list. I still enjoy "After Dark" and every now and then on a Friday morning to motivate myself I'll listen to "Thank God It's Friday!!". Shoot, I enjoyed looking at the pictures from the movie on the covers of the 12-inches more so than the music. :roll:

[remicks]

*****

Salsoul1975 Posted:
With the exception of the disco-oriented "Another Star" (#32, Pop; 1977), Wonder's music was not custom-made for the typical disco floor.

Sorry , but gotta disagree with you here Salsoul75! Stevie had many cuts on his "SONGS IN THE KEY OF LIFE " LP that got massive club play ...."AS " "ANOTHER STAR" "SIR DUKE " "I WISH " "SATURN " even "ISN'T SHE LOVELY " got played quite a bit and someday soon ( (well let's just change that to someday ) ... these cuts will appear on Marky's chart and I believe go to #1 (?? ) But Stevie was already for years delivering boogie beats.... such as "LIVING FOR THE CITY" & "BOOGIE ON REGGAE WOMAN " He was just the guy to provide this soundtrack with some needed Motown heat.....

Marvin Gaye ....you haven't had every great club experience until you've had one that includes a play of "GOT TO GIVE IT UP " ....That song is unbelievable heard loud and low in a disco.
A suitable follow up to that of his would have also been HUGE

Eddie Kendricks with his great distinctive voice and style .... those early disco songs of his were superior.... way ahead of their time ... I think everyone was waiting for his next big one .....

The Originals "DOWN TO LOVE TOWN " similar in theme and attitude to "DISCO INFERNO " and I would have thought it very clever to resurrect them to deliver a comparable track .

As far as Smokey .... ya he just never responded to the disco thing .... but this was a very slow period for him overall anyway ....

**** Here's where it gets interesting to me again .... I take it that you are dismissing the usefulness of Parliament for this project .... because maybe they were too funky ..... not disco enough ...........................and yet, who does Motown ( out of all their roster) choose to showcase on this disco album .... and appear live in the film ..... their funkiest group of all .....The Commodores......and performing a funk tune ....."TOO HOT TO TROT " which , by the way , was a 1977 released tune that peaked at #24 in Jan '78 and had already played out and disappeared from the charts months before TGIF came out :roll: ... ( They should've gone ahead and beefed up the content with a better Commodore oldie ........."BRICKHOUSE " .....)




*****

[remicks]

****

I agree FRF :)

For a joint effort ... Motown sure didn't get much playtime on this .... only three songs out of 18 .... .

Who knows ..... maybe Berry Gordy thought "LIVIN" LOVIN GIVIN " was a great number and was going to be a smash .... ( was it released as a single?).
There must have been some serious jockeying over who would get mentioned where. It's no accident Diana Ross's billing comes first . ... even though it's Donna Summer who is actually in the movie ....and has the most music . I find it odd that Berry would want Diana involved in a project showcasing Donna Summer . And .... then have her appear on an album where Diana has one cut ... and Donna has three ... ???? :-? .........

****

[Salsoul1975]

Marvin Gaye's "Got To Give It Up" was major hit for him in 1977, and was a major disco hit as well, but with the exception of GTGIU and perhaps some tracks from his previous album, "I Want You", his disco successes were not limited to club play only. The Originals hadn't had a hit record in six years before "Down To Love Town" was released, which surprisingly did better on the pop chart than on the R&B chart. Parliament had some records that crossed over to the disco chart, but overall straight funk records didn't always do so well on the disco charts. There were exceptions ("You + Me=Love by the Undisputed Truth), but far and away funk was only modestly successful disco chart-wise.

It's been over 25 years since disco was in its heyday. The book has been closed. We cannot open the book and try to make revisions and/or corrections. Had Motown created a subsidiary label catering to disco music the way Warner Bros. had done with RFC, perhaps they would have been more successful with its disco output.

[remicks]

*****

Motown's own disco label !!

I never thought of that ! How great it would have been had Motown deveoped their own disco label ....Motown, Tamla , Soul , Rare Earth ....and .. "????" .... the disco line....
Although I don't know who would've been on that label . It is true ....Motown had no acts that could've been identified as strictly "disco" .... ( Thelma Houston ?... ) almost all their acts dabbled in disco though ...

Had they established a disco branch ....I wonder which acts they might have wound up pursuing and signing ..... Linda Clifford??? .... Tavares ?? maybe even .... Grace Jones would have wound up being a Motown act ...

Motown's roster was so slim at this point and production so low ..... no Norman Whitfield or HDH anymore to do the writing. The Jackson 5 , the Pips , The Isleys, .... all gone ... Smokey in a rut .... Marvin typically so too ..... they, like Casablanca, in reality had slim offerings for this project .

The only "hot' act they had going, the only one to develop through TGIF, was The Commodores..... even though they were not really heavily pursuing the disco route themselves . They sure made no attempt to come up with a killer disco tune for this project , did they. ---- odd isn't it ? Sign on to be featured in a disco film .... but then create no music for it ...... :P ??

Maybe Casablanca felt Parliament was too funky : even while at the same time agreeing to showcase The Commodores.... and even though "FLASHLIGHT " was about to take the scene by storm ( wouldn't the Parliament sound have complemented the Commodores inclusion on the soundtrack??) ..... The Commodores were probably too funky too ... but Neil must've wanted some Motown material .... and at this time ...they were the hottest of what Berry had to serve up. Berry must have insisted his biggest act at the time get footage in the film .... must have been part of the deal for Motown to sign on ....

Perhaps that's how TGIF was perceived : Neil Bogart explained to Berry that they were using this film to feature their main star .... Donna Summer ....and if Motown signed on ..... they could do the same with whatever act they most wanted to promote ..... and there was only ..... The Commodores .....

Rather absurd though to use the movie as a vehicle to " introduce " The Commodores ....which is what is said on the TGIF album jacket :

'"And introducing THE COMMODORES "

Not much of an introduction since the soundtrack came out in 1978 ..... four years into the running of Commodore releases...begun in the spring of 1974 with "MACHINE GUN" followed in rapid succession by " SLIPPERY WHEN WET " , "SWEET LOVE" ,
"JUST TO BE CLOSE TO YOU " , "EASY", "BRICK HOUSE" and TOO HOT TO TROT "

At this point, four years into their recording career .... who they were being introduced to ..???? ....

Maybe that most strongly suggests how weak Motown was at this time. Their hottest act to develop.....to introduce .....was one that had already been with them for four years......

Marvin Gaye's "Got To Give It Up" was major hit for him in 1977, and was a major disco hit as well, but with the exception of GTGIU and perhaps some tracks from his previous album, "I Want You", his disco successes were not limited to club play only.

The Originals hadn't had a hit record in six years before "Down To Love Town" was released, which surprisingly did better on the pop chart than on the R&B chart.

Sorry Salsoul75 , I'm not following the points being made here .... :-?




*****

[BrunoRepublic]

I heard through my little bro that the TGIF soundtrack album is a collectors item. Any truth to this?

As mentioned above, the promotional set of 12" singles (I think there are six in total) is collectable. The regular album, however, sold by the truckload, and can be found in the $1 bins at many used record stores.

[Disco Funk]

A few other songs in the film not on the soundtrack include 'You Are The Reason' (I think that's the name) by The 5th Dimension (Motown), 'Let's Make A Deal' by GC Cameron and Syreeta (Motown), 'It's Serious' by Cameo, and the instrumental version of 'I Am What I Am' by The Village People, which has never been released. In fact, the only place I've ever heard Village People instrumentals was on that french DVD of their music videos, which has 4 Karaoke tracks which are instrumental mixes of Macho Man, YMCA, In The Navy, and Go West.

Smokey Robinson did have a disco tune around that time called 'Theme From Big Time' but it was of course the theme to another film. Beyond that, yeah, he didn't have much going in the dance department. Stevie definitely wasn't disco, although I think he was on the disco track 'Pops We Love You'. Marvin Gaye had that 'Funky Space Reincarnation' around that time, but I think the movie music was set before that was released. Eddie Kendricks had two awesome Norman Harris produced Philly LPs 'He's A Friend' and 'Goin Up In Smoke', but they seemed to prefer to stay away from the Philly sound on TGIF.

Other Motown acts that could have been mined for tunes include Dynamic Superiors, Jerry Butler, Temptations, The Miracles, Magic Disco Machine, The Originals (they actually recorded 2 versions of Down To Love Town, but the famous, better one is the second). Most of that mid to late 70's Motown disco had similar sounds, with guys like Melvin Ragin on guitar and James Gadson on drums, so maybe they thought it would sound too alike?

Love Masterpiece is one of my favourite cuts on the album. I'm actually disappointed they didn't bother putting out a longer version because I find it too short. Love that flanged guitar sound and the heavy driving up-beat. The inclusion of Cameo's Find My Way was probably just for that one scene where Floyd's lost, otherwise I doubt it would have been in the film or soundtrack. Then again, I think it's resurrection gave Cameo the inspiration to re-record it again as that awesome 9 minute remake on the Secret Omen LP.

The movie itself is pure cheese. Everytime I see that lead actress (the one who Jeff Goldblum's character wanted to get lucky with) I think of Lady Diana, LOL! It's also cool seeing a film that had Goldblum, Debra Winger and that lead singer from Berlin in early roles. I wish it was on DVD. What's the hold up!?!

Best scene - definitely the Leatherman dance. The dance contest with the Commodores singing is a close second.

Disco Funk