Jacques Morali as remembered by Villager Mark Lee

[remicks]

*****

Wish every story in the land of disco was glittery and gracious and smelled like tuber rose ... Scary how many probably aren't and don't .

This new article in which Mark Lee reflects over his time with the Village People and his experiences with Jacques Morali sure taints things. Want the man behind so many successfully adventurous disco projects to be regarded as a disco saint.

(((Well real is real :icon_sad:....)))

Here's the entire article . (thanks to member Cory Ander)
Quite a read :

Love and war: Mark Lee on his years with the Village People :: EDGE Boston

In it Mark Lee describes meeting Morali this way :

After high school, Lee left Sacramento, his childhood home, to study architecture at UCLA At a private party in 1980, Lee’s employer suggested he play the piano and sing. Then "this little, tiny French guy, about 5’3", sitting across the room perked up when I started singing."

The man was Jacques Morali, the French songwriter and producer who created the Village People. Morali suggested Mark should join the group and replace the original construction worker, David Hodo. It took two years and several missed connections before the two met again, and Morali made good on his offer. It was not without strings.

What 's curious for me is that Morali , the terror, was around 5'-3" . That's pretty tiny. Now in this photo Morali is identified as the man on the right with Henri Belolo being on the left .




But this photo is a blend from of this group picture :

Now in this shot doesn't Morali look as big , if not even bigger, than the rest ...where Belolo in the center seems comparatively tiny ? (So if Morali was 5'3" ...was Belolo 4'10" ... & what about Victor ?????)

Just got me curious ....does anyone know for sure which one is which ??
I wasn't successful at finding other photos ........


He sure looks friendly ......

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[BrunoRepublic]

Morali is the one on the right in the first photo (the second is blocked from my office). There's also a picture of him on the back of the "Macho Man" LP cover. And then there was that TV special on the Village People which actually focused a lot on him (kudos to the program's producers for pointing out that he was the real force behind the group and not the performers).

He was well-known for being *very* demanding and controlling of his performers. I don't know where anyone would get the idea that he was a saint... this is the same guy who fired the entire Ritchie Family and replaced them with sexier-looking women.

As for Belolo, I don't think he had much, if anything, to do with the actual music. My understanding is that he handled the business side of things, and got songwriting/production credits and royalties as part of the arrangement. Deals like that are not uncommon in the music business...

[markydefad]

It looks like Lil' Jacques is standing on a stool ...he seems to pop up over the folks on either side of him--especially Victor Willis...oops, Ray Simpson!!!---who gets reduced to Emmanuel Lewis size!!!!

[remicks]

*****

....he's also so bright in that photo!

Thanks for the clarification Graham!

I don't know where anyone would get the idea that he was a saint... this is the same guy who fired the entire Ritchie Family and replaced them with sexier-looking women.

True.
Still , I want all the big players in the land of disco to be eligible for disco sainthood :icon_mrgreen: ...the Jacques Moralis ... the Neil Bogarts the Simon Saussons .....all of them . Keep the myth that disco was all one big happy family alive ....


*****

[SandraDee]

Remmy & Marky, I think you'll find that the cop is actually Ray Simpson & not Victor Willis; this must be a photo from after Victor's era.

[remicks]

*****

No wonder I've got Morali and Belolo confused....I can't even tell the cops apart !! :icon_mrgreen::icon_lol:

So that's LIL' Ray! :icon_mrgreen:


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[Dayna]

Not SCAT~!!! :icon_eek:
Reminds me of the 2 Live Crew song
Doo Doo Brown:icon_eek::icon_lol:
Thats just NASTY~!!
A Good read though.

[STEPHEN L FREEMAN]

The only 2 items I know for sure about Ms. Morali are that:

1) The Village People were supposed to be signed to TK Records, as the brother (sister) group to The Ritchie Family. But Morali and Ray Caviano got into an all-out bitch-fight. Then Marc Paul Simon jumped on the situation and talked Morali into bringing the group to Casablanca. Which, of course, he did with the Ritchie Family, a couple years later.

2) Randy Jones (the Village Peoples' original Cowboy) said, in a late 80's interview, that Jacques Morali was a nasty, bitchy queen who surrounded himself with all the Men he could never have. (OUCH!)

Naaahhh!!! He was not well liked.

[remicks]

*****

and now,

the rest of the story :


PART TWO

of :

The boys in the band
Mark Lee on the road with the Village People
Published 03/20/2008

by Robert Julian



the teaser highlight :icon_mrgreen:

: "Well, Felipe was getting really, really fat, () and he and Glenn are bickering just before I walk out. Glenn says something like, 'If you don't lose some weight, you're going to be the dancing whale, not the Indian.' The second he says that, Felipe picks up this glass pitcher full of water that is sitting backstage and cracks it over Glenn's head. The two of them start going at each other, fists and fingernails, and feathers are literally flying. Glenn ended up with a broken eardrum and a black eye.

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[STEPHEN L FREEMAN]

this is the same guy who fired the entire Ritchie Family and replaced them with sexier-looking women.

Possibly, with the 2nd set of girls. (There were, at least 3) But, (according to David Campbell, who played tambourine on the 1st 3 LPs, and toured with the group), the original members left, more or less, of their own accord. Gwendolyn Jacks was pregnant when "The Best Disco In Town" hit big (hence, the big billowy caftan-capes on the cover) and by the time "African Queens" came around, she didn't want to tour anymore. Also, she, Cassandra and Gwen had a strong allegiance to Ritchie Rome, who'd been forced out of his own group by the 4th LP.

As for Belolo, I don't think he had much, if anything, to do with the actual music. My understanding is that he handled the business side of things, and got songwriting/production credits and royalties as part of the arrangement. Deals like that are not uncommon in the music business...

True... Just like Cerrone and Pete Waterman, a chunk of the publishing royalties were part of the deal for putting up the financing. Belolo's listed as "General Supervision", or "Executive Producer" on the LPs. Which basically means he signed the checks. Let's say he was the 'Ian Schraeger' to Morali's 'Steve Rubell'.

the teaser highlight :icon_mrgreen:

*****

I know that Glenn and Alex were close from the beginning, to the end. And I knew Felipe could be a bit bitchy, but I had no idea they were at eachother's throats like that!

We had them at "On The Waterfront", in Miami, in the mid-80's and I do recall all of the employes thinking..."Girl! Ms. Felipe's got some serious jiggle goin' on to be wearin' that outfit! She did get a bit ...er....um..uh
Chunky!:icon_lol:

By the time Glenn passed-away(:icon_cry: my dream hubby, with the softest face-fur on the planet!) he was no longer performing. But was handling their business affairs. I'd imagine, by then, they were all behaving like adults.

[BrunoRepublic]

Possibly, with the 2nd set of girls. (There were, at least 3) But, (according to David Campbell, who played tambourine on the 1st 3 LPs, and toured with the group), the original members left, more or less, of their own accord. Gwendolyn Jacks was pregnant when "The Best Disco In Town" hit big (hence, the big billowy caftan-capes on the cover) and by the time "African Queens" came around, she didn't want to tour anymore. Also, she, Cassandra and Gwen had a strong allegiance to Ritchie Rome, who'd been forced out of his own group by the 4th LP.

Oh, okay. Thanks for that bit of info. I just assumed they'd been canned since (1) they all left at once, (2) it wouldn't have been out of character for Morali to pull something like that, and (3) this happened right around the time that the Village People became huge, and VP showed how important it is to have the right image in music. They didn't sound any different from Morali's other acts, but they were the only one to crossover into mainstream popularity.

[STEPHEN L FREEMAN]

Oh, okay. Thanks for that bit of info. I just assumed they'd been canned since (1) they all left at once, (2) it wouldn't have been out of character for Morali to pull something like that, and (3) this happened right around the time that the Village People became huge, and VP showed how important it is to have the right image in music. They didn't sound any different from Morali's other acts, but they were the only one to crossover into mainstream popularity.

Actually, you're right. Just off by 1 LP. 1978's 'American Generation' was the last Marlin/TK LP. These were the girls that replaced the original members. 1978's 'Macho Man' was the LP that broke The VP. In '79, Morali dumped at least 2 of the girls from the group, brought them to Casablanca and recorded 'Bad Reputation' either immediately before, or immediately after the VP's 'Go West'.

And I'm fairly certain (so don't hold my feet to the fire, on this one) that it was "Dodi" who was the only girl to make it from 'American Generation', through to the RCA LP, produced by Malavasi & Taylor.

[Cdnbob]

2) Randy Jones (the Village Peoples' original Cowboy) said, in a late 80's interview, that Jacques Morali was a nasty, bitchy queen who surrounded himself with all the Men he could never have. (OUCH!)

Naaahhh!!! He was not well liked.

Stephen do you know what the reason behind Randy leaving was? I've always been curious why he left the group.

[Cdnbob]

This new article in which Mark Lee reflects over his time with the Village People and his experiences with Jacques Morali sure taints things. Want the man behind so many successfully adventurous disco projects to be regarded as a disco saint.

Remicks thanks for pointing out this article. It was really interesting to read and learn about Mark's experiences being in the VP. Its funny... but when I read things like this article, or hear about such stuff on tv, it makes me kind of glad I never made it as a performer and just became a regular everyday person.

[BrunoRepublic]

Stephen do you know what the reason behind Randy leaving was? I've always been curious why he left the group.

There's probably more than one reason, but I recall reading or seeing an interview with him where he said that he thought the "Klaus Nomi" look that the group was adopting for their reinvention with the Reniassance album would be a disaster, and he refused to have any part of it.

[SandraDee]

he said that he though the "Klaus Nomi" look that the group was adopting for their reinvention with the Reniassance album would be a disaster.

He sounds quite astute.

[Cdnbob]

There's probably more than one reason, but I recall reading or seeing an interview with him where he said that he though the "Klaus Nomi" look that the group was adopting for their reinvention with the Reniassance album would be a disaster, and he refused to have any part of it.

Ah yes, the infamous "Rennaissance" album....

[ashley]

quote from Stephen L Freeman: " .. the original members left, more or less, of their own accord. Gwendolyn Jacks was pregnant when "The Best Disco In Town" hit big (hence, the big billowy caftan-capes on the cover) and by the time "African Queens" came around, she didn't want to tour anymore. Also, she, Cassandra and Gwen had a strong allegiance to Ritchie Rome, who'd been forced out of his own group by the 4th LP".


.. so how did Ritchie Rome become separated from his own beloved group? .. it would be like the Spencer Davis Group sacking Spencer & then continuing to make records without him ..

[STEPHEN L FREEMAN]

.. so how did Ritchie Rome become separated from his own beloved group? .. it would be like the Spencer Davis Group sacking Spencer & then continuing to make records without him ..

I know. It does sound too weird. Most of it had to do with Morali and Belolo. It was all about money. You can actually hear Ritchie's influence rise and fall, in the substance of the LPs.

1975 1st LP: Brazil - This was "Produced by Jaques Morali for Can't Stop Productions", with "General Supervision: Henri Belolo" and "Arrangements & Assistant Production: Ritchie Rome". Ritchie Rome already had an established name in US Disco, as a Producer/Arranger. Morali & Belolo wanted an American hit and put their money behind Ritchie Rome. They wrote the checks and owned the group's name. Not Ritchie Rome. Morali, Belolo and Hurtt wrote all the original tracks, but R. Rome gave it his "sound", so to speak.

1976 2nd LP: Arabian Nights - This release had a LOT more money behind it and a real "Who's Who" of studio musicians. Now, the arrangements are credited to Jacques Morali and Ritchie Rome. And R. Rome is credited with writing two tracks. (The two that are the most well-received, I might add.) It's still as "pretty" as the 1st LP but, on "Arabian Nights" and "The Best Disco In Town", unlike the other tracks, the percussive elements are kicked-up a notch. Morali's more involved and we're starting to hear the "Can't Stop Productions" sound evolve.

1977 3rd LP: Life Is Music - A BIG chunk of money is thrown at this LP. The gatefold cover is of higher quality than previous TK releases, the musician credits are top-notch, still credited as "Produced and Arranged by Morali and Rome", and R. Rome gets top-billing in the musician credits. Also, R. Rome is involved in writing ALL the tracks. (Personally, this is my favourite Ritchie Family LP. It's beautiful, with some off the most stunning string arrangements of the day! With the exception of "Super Lover" and "Disco Blues", this LP is classic Ritchie Rome material. Guess what? The LP totally tanks! There's a minor buzz around Lady Luck (with a really monotonous remix), then it's dead-as-a-doornail. In the 6 months between "Arabian Nights" and "Life Is Music" the sound of Disco had changed. Euro-Disco was "in". And, around the same time, the first Village People LP is recorded, using all the same people except Ritchie Rome, and is a hit.

1977 NOTE: Morali, Rome, Belolo and Hurtt try to cash-in with another medley; the 12"-only release on TK called "Discomania" by The Lovers. Sort of, "The Best Disco In Town" part 2. And "The Lovers" is comprised of Cassandra Wooten from "The Ritchie Family" and some male vocalist who's voice I recognize, but can't place. It's horrid! And dissappears as fast as it came.

1977 4th LP: African Queens - Instead of waiting, this LP is out within months of "Life Is Music". Ritchie Rome is nowhere to be found. Horace Ott is brought in to arrange the Strings and Horns, in his place. And Morali is arranging the percussion. When you listen to this LP you hear the "Can't Stop Productions" sound take hold. And it's a BIG hit.

1978 5th LP: American Generation - The voices of "The Ritchie Family", Cheryl, Cassandra and Gwendolyn are gone, no vocalists' names are listed and the generic "Can't Stop Productions" sound is in place. Along with the appearance of the stop-sign logo. (Around the same time, Casablanca releases Patrick Juvet's "I Love America" and the two LPs are so similar, that mixing the title tracks together is a given at any club you go to.)

Then we, basically, hear the same, recycled melodies and rythmn arrangements, with different lyrics, for the next 2 years, from the Ritchie Family, The Village People, Philicia Allen, Patrick Juvet and Dennis Parker.

Ritchie Rome continued to write and arrange. I have a couple records he did with the "Sweet Sensations": "Black Sunday" and "Love Is On The Way". They're beautiful, but they failed to make any waves.

[BrunoRepublic]

Very informative. Thanks for sharing!

There's a minor buzz around Lady Luck (with a really monotonous remix), then it's dead-as-a-doornail.

Not helped by the fact that the first run of 12" singles are mispressed with a different LP cut in place of "Lady Luck"....

Ritchie Rome continued to write and arrange. I have a couple records he did with the "Sweet Sensations": "Black Sunday" and "Love Is On The Way". They're beautiful, but they failed to make any waves.

I quite like the album he did for Flower. Even her, um, limited vocal abilities don't ruin the lushness of the music.

As for the whole other thing, well... I'm assuming these are the kinds of reasons why Belolo got to be where he was then (and still is today, I'm to understand). I remember reading a few years ago that he prevented the Village People from doing one of those awful direct-to-the-$4-bin-at-Wal-Mart albums of low-budget re-recordings of their old hits, and that Belolo still owns the VP name.

[ashley]

.. cheers Stephen .. I always wondered what became of Cassandra, Gwen & Cheryl .. I know Cassandra & Cheryl were good friends from school & were still together providing backing vocals for Lennon & Yoko's 1980 album "Double Fantasy" .. but otherwise I don't know what happened to them .. or where they are today ..

[STEPHEN L FREEMAN]

Not helped by the fact that the first run of 12" singles are mispressed with a different LP cut in place of "Lady Luck"....

Reeeally??? My copy is "Lady Luck" (remix) b/w "Life Is Music" (LP mix). Puleeease tell me the misprint had "Long Distance Romance", or "Liberty" on it! It's been so long since I've had a good reason to start hunting. Although I do have a Japanese LP press, and it's gonna sound better than any TK press (LP or 12"), it still sounds like a "must have" for me.

I remember reading a few years ago that he prevented the Village People from doing one of those awful direct-to-the-$4-bin-at-Wal-Mart albums of low-budget re-recordings of their old hits, and that Belolo still owns the VP name.

It's been so long since I'd heard it (and there's an interview with Belolo on this sight, no?)... But I understood that Belolo got all the remaining interests in "Can't Stop Productions", when Morali died. And they never gave-up ownership of their recordings. (VP, Ritchie Family, Eartha Kitt, etc...) Just licensed them out to different territories. (The label "Scorpio Records" was their own.)

If he owns the "Village People" name, I'd imagine the boys have had to shell-out a lot of $$$ over the years, to use it. (Kinda like, no one is allowed to record under the name "The Supremes". Even with original members.) Unless there was some sort-of Performance Clause negotiated, along the way. And, come to think of it, VP never recorded with any other Producer. I'm sure the opportunity would have been there.

Have you ever heard Sonia Belolo's 1985 release, "Life Dance", on Flarenasch? It was a strikingly beautiful piano-driven, instrumental. She's said to be Henri Belolo's daughter. But I've never come across confirmation of that.

[BrunoRepublic]

Reeeally??? My copy is "Lady Luck" (remix) b/w "Life Is Music" (LP mix). Puleeease tell me the misprint had "Long Distance Romance", or "Liberty" on it!

I *think* it was "Long Distance Romance". I got the record sealed off the 'net years ago, and was disappointed that it had two LP tracks. I don't know if I still have it... I'll have to check when I get home. I might've discarded it when I found the proper 12" (which has identical labels and catalog #; the only way to tell it apart was the REV-1 in the deadwax or something similar).

UPDATE:

I still have them both. The labels are the same, side one is identical, and the amount of deadwax is very similar for side two, so the only way to tell them apart without playing them is the writing in the deadwax. Both versions have TKD-26-A-RE in the deadwax on the first side, and appear to have been pressed from the same stamper. First copies which erroneously have the LP mix of "Long Distance Romance" on the b-side have TKD-26-B in the deadwax. Corrected copies with the remix of "Lady Luck" have TKD-26-B-RE in the deadwax.

[STEPHEN L FREEMAN]

Both versions have TKD-26-A-RE in the deadwax on the first side, and appear to have been pressed from the same stamper. First copies which erroneously have the LP mix of "Long Distance Romance" on the b-side have TKD-26-B in the deadwax. Corrected copies with the remix of "Lady Luck" have TKD-26-B-RE in the deadwax.

Figures... "Long Distance Romance" is my favorite song on the LP. (Granted, the lyrics leave something to be desired, but the arrangement is spectacular!) Thanks for the tip. Now, the vinyl-junkie in me is jonesin' for a fix. But, if it's out there, I'll find it. The hunt is on!

But... Kinda makes you wonder what (without the -RE) TKD-26-A was? Hmmm...

[BrunoRepublic]

Figures... "Long Distance Romance" is my favorite song on the LP. (Granted, the lyrics leave something to be desired, but the arrangement is spectacular!) Thanks for the tip. Now, the vinyl-junkie in me is jonesin' for a fix. But, if it's out there, I'll find it. The hunt is on!

But... Kinda makes you wonder what (without the -RE) TKD-26-A was? Hmmm...

I was wondering that myself. Could've just been a bad cut, I suppose. Then again, I used to wonder what the "RE-1" on US copies of Silvetti's Concert From The Stars meant. Then one day I lucked out and found a German copy, and well, now I know. :)

I got that copy of "Life Is Music" sealed through GEMM several years ago. It had a delete cut in the sleeve. I have to wonder if the first batch was recalled when the error was found, and then they sat in some warehouse for 25 years. Then again, I managed to get sealed copies of several of the Ritchie Family's albums. *sigh* I don't see things like that anymore. Hell, record stores themselves are disappearing faster than the polar ice caps.