Debunking Disco Rumours

[Cdnbob]

Okay gang, here's an idea for a thread series. What about various rumours you've heard to do with disco or disco performers that you've always wondered about if they were true or not?

One I've always wondered about if it was true or marketing B.S. was when Donna Summer and Barbra Streisand recorded "Enough Is Enough", is it true that Donna fell off the stool she was sitting on because she couldn't hold the notes for as long as Barbra?

Another was that the vocals on the Village People albums were not performed by the members of group (David Hodo, Felipe Rose, et al) but by a group of uncredited session singers and that the VP lipsynced to tracks of their songs?

[STEPHEN L FREEMAN]

...if it was true or marketing B.S. was when Donna Summer and Barbra Streisand recorded "Enough Is Enough", is it true that Donna fell off the stool she was sitting on because she couldn't hold the notes for as long as Barbra?

If you'd ever heard the bootleg "outtakes" LP from the recording session, you'd know they were all rather giddy, by the end of it. Lots of laughing and silliness going on.
If Donna actually "fell off her stool", I'd imagine it was nothing more than a comic gesture.

...the vocals on the Village People albums were not performed by the members of group (David Hodo, Felipe Rose, et al) but by a group of uncredited session singers and that the VP lipsynced to tracks of their songs?

The 1st VP LP was recorded by an assembled studio-group, with Victor Willis as lead vocal and Felipe playing bells. (not singing) It was a concept-album. And a follow-up wasn't intended.
So, in the beginning, I'd imagine the boys (David, Felipe, Randy, Glenn and Alex) may have lip-synced the BV's, while Victor sang the leads, live, at their first few gigs.
But from "Macho Man" forward, they were on the records. Granted, with additional singers, both on record and at performances.

[pepper1dancer]

I'm sure ya'll have all heard about the woman being murdered while the Ohio Players are recording "RollerCoaster" and you can hear her voice in the recording.

Barbara didn't want to record "Enough is Enough" until her son Jason, who was a big Donna S fan begged her to do it.

Amii Stewart cant stand her hot single "Knock on Wood".

Donna Summer said she hated doing the long version of her songs on stage because she didn't just want to stand there and dance for a very long time.

Rumors? I think so......

[Dayna]

What about the rumour that Donna Summer had like 24 or however many Orgasms while recording "Love To Love You Baby"..?
If that's the case give the the Microphone:icon_mrgreen:

[Chap2Power]

What about the rumour that Donna Summer had like 24 or however many Orgasms while recording "Love To Love You Baby"..?
If that's the case give the the Microphone:icon_mrgreen:

Here's a few to share:

During the recording of the amazing "Disco Love Bite" by Tee Cees in South Africa, the two girls who do the love scene overdub actually ended up having sex during the vocal session.

Amanda Lear hated Wally MacDonald's remix of "Follow Me". But anyone who's heard it knows that Wally, a legendary DJ/mixer in Toronto poured his heart out doing it. One of my all time favourite re-works.

On the Village People front, it was a known fact that the Skatt Brothers were curtained off the side of the stage singing all the background parts during the their live performances. Whether this can truly be authenticated is another story, but I've been hearing it for years.

Vince

Vince

[Boogie Child]

Donna Summer: Surviving 'The Journey'

Tuesday, October 21, 2003 Posted: 2006 GMT ( 4:06 AM HKT)
CNN.com International Entertainment

"One highlight of Summer's career was her duet with Barbra Streisand on 1979's "No More Tears (Enough Is Enough)," which ended up as her final number one hit.
She had just finished a tour and celebrated by partying hard all night, unaware she had to record with Streisand the following day. Worn out from lots of celebrating and little sleep, Summer fainted while trying to hit a high note and fell off her stool.
Streisand pressed on, holding her note to the end. Only after she finished did she lean over and ask her fallen comrade: "Donna, are you OK?"

(...from the autobiography)."

[Cdnbob]

Donna Summer: Surviving 'The Journey'

Tuesday, October 21, 2003 Posted: 2006 GMT ( 4:06 AM HKT)
CNN.com International Entertainment

"One highlight of Summer's career was her duet with Barbra Streisand on 1979's "No More Tears (Enough Is Enough)," which ended up as her final number one hit.
She had just finished a tour and celebrated by partying hard all night, unaware she had to record with Streisand the following day. Worn out from lots of celebrating and little sleep, Summer fainted while trying to hit a high note and fell off her stool.
Streisand pressed on, holding her note to the end. Only after she finished did she lean over and ask her fallen comrade: "Donna, are you OK?"

(...from the autobiography)."

Yes, that's the one I recall.

[srg]

BITD i heard that Donna Summer (yup, her again:icon_lol:!!) was one of the session singers on Silver Convention's recording sessions of "Save Me", "Fly Robin Fly" and "Get Up And Boogie"...sounds possible, doesn't it? Does she hint anything about it in her bio?

[BrunoRepublic]

BITD i heard that Donna Summer (yup, her again:icon_lol:!!) was one of the session singers on Silver Convention's recording sessions of "Save Me", "Fly Robin Fly" and "Get Up And Boogie"...sounds possible, doesn't it? Does she hint anything about it in her bio?

No, she reveals surprisingly little about her recording career in her autobiography. She focuses mainly on her family, faith, and fond memories.

She does explain where she got the inspiration for "She Works Hard For The Money" though.

[kdavid13]

I was just reading an old (I mean OLD) issue of Canada's own Discomag magazine and in the gossip pages I came across these 2 "facts"...:icon_lol:


"Neil Bogart,semi-jokingly offered one million dollars to Jackie Kennedy if she wanted to record a cover of Donna Summer's Love to love you baby.They were both at a party thrown by Allan Carr.Jackie totally suprised Neil by answering : "So what time do I show up at the studio ???".Now the question is : Will Bogart keep his end of the deal ?"

and

"Discoland" , the first motion picture starring Village People will start shooting in 2 weeks.Still,a lot of mystery surrounds this production but we can tell you that many scenes will be shot at Studio 54.Cheryl Tiegs,the world's most famous model, will play herself in the film and that the soundtrack will be written and produced by Michel Legrand and Neil Diamond."

:icon_lol:

[STEPHEN L FREEMAN]

BITD i heard that Donna Summer (yup, her again:icon_lol:!!) was one of the session singers on Silver Convention's recording sessions of "Save Me", "Fly Robin Fly" and "Get Up And Boogie"...sounds possible, doesn't it? Does she hint anything about it in her bio?

The original vocals for Silver Convention's 1st LP, "Save Me", were Gitta Walther (aka Jackie Robinson), Roberta Kelly, Betsy Allen, Lucy Neale and Jackie Carter.

Then, on tour and some singles covers, it was: Jackie Carter, Ramona Wulf, Linda G. Thompson

Finally, from the 2nd LP forward, the line-up was: Penny McLean, Ramona Wulf, Linda G. Thompson

[Videoskooter]

were Gitta Walther (aka Jackie Robinson)

AKA Gitta MacKay

MySpace.com - Gitta MacKay - DE - Pop / Soul - www.myspace.com/gittamackay

"There you are, you're moving like a superstar"

[Chap2Power]

The original vocals for Silver Convention's 1st LP, "Save Me", were Gitta Walther (aka Jackie Robinson), Roberta Kelly, Betsy Allen, Lucy Neale and Jackie Carter.

Then, on tour and some singles covers, it was: Jackie Carter, Ramona Wulf, Linda G. Thompson

Finally, from the 2nd LP forward, the line-up was: Penny McLean, Ramona Wulf, Linda G. Thompson

The rumour remains out there that Claudja Barry was also part of that grouping as well..

Vince

[STEPHEN L FREEMAN]

The rumour remains out there that Claudja Barry was also part of that grouping as well..
Vince

I'm going by the line-ups, as told to me by Lucy Neale.

[Chap2Power]

I'm going by the line-ups, as told to me by Lucy Neale.

Excellento...what was Lucy like ? It's always interesting to hear what the heroes in the background have to say...

Vince

[Salsoul1975]

Gitta, Betsy and Lucy sang background vocals on Donna Summer's "Love To Love You Baby" album; Gitta and Lucy also did vocals on Donna's "Once Upon A Time" album.

[JOL]

Vince,

Wally was a very good friend of mine and I'm suprised to hear that there was a rumour circulating that Amanda hated his mix. I remember Wally being very excited at the time when ask to do the remix and that Amanda had agreed to go back into the studio lay down more vocals for that remix. I agree it's one of the most powerful remixes of that time.

Amanda Lear hated Wally MacDonald's remix of "Follow Me". But anyone who's heard it knows that Wally, a legendary DJ/mixer in Toronto poured his heart out doing it. One of my all time favourite re-works.


Vince

Vince

[Chap2Power]

Vince,

Wally was a very good friend of mine and I'm suprised to hear that there was a rumour circulating that Amanda hated his mix. I remember Wally being very excited at the time when ask to do the remix and that Amanda had agreed to go back into the studio lay down more vocals for that remix. I agree it's one of the most powerful remixes of that time.

Hey JOL, he was a very good friend of mine as well, a mentor and during the twilight of his career worked alongside me at a club.

I remember this being problematic in the beginning, because his masterpiece was so radically different than her original Anthony Monn produced record. If she had, I've erred, but at the same point, this was a rumour that circulated around the Disco Sound universe at that time. Anyhow, we all adore it for the right reasons. I hope I'm wrong...

To close, for those of you who never knew Wally, he was the most creative, inventive, musically demonstrative and brilliant DJ the city has ever seen. There will never be another one like him. His tape reels and his 92 edits on La Bamba by Antonia Rodriguez are only a part of his legacy...

Vince

[JussiK]

Fact: Amanda Lear liked the mix in question a lot.

[Chap2Power]

Fact: Amanda Lear liked the mix in question a lot.

I'm sure that both JOL and I are elated to hear that ..... it really honoured the collective work...

Vince

[markydefad]

Both those Wally MacDonald mixes mentioned---"Follow Me " & "La Bamba"---are on my personal best list. What else did he remix? :icon_question:

God bless the child that answers his own:

http://www.discogs.com/artist/Wally+MacDonald

[STEPHEN L FREEMAN]

Vince,
Wally was a very good friend of mine and I'm suprised to hear that there was a rumour circulating that Amanda hated his mix. I remember Wally being very excited at the time when ask to do the remix and that Amanda had agreed to go back into the studio lay down more vocals for that remix. I agree it's one of the most powerful remixes of that time.

Unfortunately, to me the downside of Wally's remix was something he had no control over. Unless you have the original IGM 12" single, or the EPIC/IGM pressing, your copy was not mastered from Wally's original 15ips / 2-track tape.:icon_evil: (Mine's an IGM pressing, on yellow-gold vinyl, with the most beautiful "flaw"... There were air-bubbles in the vinyl-glob that dropped onto the press. When the vinyl went through the press, the air-bubbles were streeeeetched-out to form a starburst-like pattern within the vinyl. :icon_smile:) The Siamese and all subsequent releases (which make-up the majority of copies produced worldwide...) were mastered from needle-drops. Hence the mid-highs and high-end suffered terribly.

Which, wouldn't matter much, unless you have the original LP (particularly the German ARIOLA pressing) and came to know all those intricate Anthony Monn elements, that appeared-to-be inexplicably lost, in Wally's remix.

This was so disappointing to me, that I'd created my own version from the LP version and reprise, and used my Siamese press of Wally's to mix-in, then would cut to a Cassette, or reel-2-reel (depending on where I was playing) of my own mix. Juggling 2 volume knobs, as well as mid-high and high-end crossover knobs, all at the same time! With only a 16-beat window of opportinity to cross-fade! (Happily :icon_biggrin:, after I obtained my IGM 12", I never had to do that again.)

It just escaped me as to why why:icon_eek: Wally would mix such a sparkling track, and make it sound as if it was underwater??? Then I got my original IGM pressing and heard the vast difference. Shortly thereafter, I caught-up with the history of the pressings, and understood why. Although, in all my searching and reading-up on the subject... It appears that no one knows exactly what happened to Wally's original Master tape, after the EPIC/IGM release? JOL??? Can you shed light on the end of this paticular mystery???:icon_confused:

[STEPHEN L FREEMAN]

Excellento...what was Lucy like ? It's always interesting to hear what the heroes in the background have to say...
Vince

She is an absolute living doll!
We exchanged Donna memories and photographs...
I sent her my Hot Classics mix of "Lady Bump"...
Just an absolute joy, to chat with.

Hopefully, without jinxing myself:icon_eek:, I have something special in-the-works with her.

[BrunoRepublic]

Unfortunately, to me the downside of Wally's remix was something he had no control over. Unless you have the original IGM 12" single, or the EPIC/IGM pressing, your copy was not mastered from Wally's original 15ips / 2-track tape.:icon_evil: (Mine's an IGM pressing, on yellow-gold vinyl, with the most beautiful "flaw"... There were air-bubbles in the vinyl-glob that dropped onto the press. When the vinyl went through the press, the air-bubbles were streeeeetched-out to form a starburst-like pattern within the vinyl. :icon_smile:) The Siamese and all subsequent releases (which make-up the majority of copies produced worldwide...) were mastered from needle-drops. Hence the mid-highs and high-end suffered terribly.

I've heard that the original Canadian 12" singles go for big bucks in Europe (Jussi, was it you that told me this?) Yet in my time I've found the IGM on yellow vinyl cut at 45RPM, and two copies of the Epic cut at 33, and the most I paid for any of them was $10... and that was probably more because the IGM was on pretty yellow vinyl.

[Chap2Power]

Unfortunately, to me the downside of Wally's remix was something he had no control over. Unless you have the original IGM 12" single, or the EPIC/IGM pressing, your copy was not mastered from Wally's original 15ips / 2-track tape.:icon_evil: (Mine's an IGM pressing, on yellow-gold vinyl, with the most beautiful "flaw"... There were air-bubbles in the vinyl-glob that dropped onto the press. When the vinyl went through the press, the air-bubbles were streeeeetched-out to form a starburst-like pattern within the vinyl. :icon_smile:) The Siamese and all subsequent releases (which make-up the majority of copies produced worldwide...) were mastered from needle-drops. Hence the mid-highs and high-end suffered terribly.

Which, wouldn't matter much, unless you have the original LP (particularly the German ARIOLA pressing) and came to know all those intricate Anthony Monn elements, that appeared-to-be inexplicably lost, in Wally's remix.

This was so disappointing to me, that I'd created my own version from the LP version and reprise, and used my Siamese press of Wally's to mix-in, then would cut to a Cassette, or reel-2-reel (depending on where I was playing) of my own mix. Juggling 2 volume knobs, as well as mid-high and high-end crossover knobs, all at the same time! With only a 16-beat window of opportinity to cross-fade! (Happily :icon_biggrin:, after I obtained my IGM 12", I never had to do that again.)

It just escaped me as to why why:icon_eek: Wally would mix such a sparkling track, and make it sound as if it was underwater??? Then I got my original IGM pressing and heard the vast difference. Shortly thereafter, I caught-up with the history of the pressings, and understood why. Although, in all my searching and reading-up on the subject... It appears that no one knows exactly what happened to Wally's original Master tape, after the EPIC/IGM release? JOL??? Can you shed light on the end of this paticular mystery???:icon_confused:

Dear Steven,

JOL, just jumping in here, as I was in the midst of the firestorm when Wally was mixing this, mostly because I was working at Disco Sound of Canada, which, for the most part was the centre of the Universe during those days in English speaking Canada and where, indisputably, Wally and the late Greg Howlett and various others amongst the powerful DJ elite of Toronto were kings.

Mastering engineers in Canada simply were ill equipped to cut anything 'hot', and cut almost everything flat. Outside of Quebec, even the engineering of the actual mix was almost the cause for lost art. The engineers always printed things for sonic dynamics and never 'challenged' the VU meters on the Studer / Otari tape machines until the mid to late 1980's. In Wally's case, he was also a true perfectionist and his concise edits within the Amanda mix attempted to compensate for the studio shortcomings. He attended the original mastering session. I'm almost SURE of that. But Steven, you are 1000% correct when claim the other pressings are needle drops because they are. To hear Wally in his glory, I would suggest getting the Buddah US 12" pressing of La Bamba. THAT is what it should have sounded like.

Somewhere in the Sony BMG vaults, or in a safe owned by Anthony Monn, a virgin copy of Wally's mix is somewhere on a 1/4" tape, and it's truly mindboggling that "Follow Me" was never re-issued in Germany.

One of Wally's key highlights as well was with an editing block: his re-work of Jet Boy Jet Girl by Elton Motello : the English version of Plastic Bertand's Ca Plane Pour Moi is another example of his genius. Wally just knew. Just as his talented brother Larry used to as well.

I was honored to have one of Wally's mixes on a lesser known record Ambiance's "Na Na Hey Hey" cover which was the first release on Power. As that was the way for a kid to start his label, I did the right thing three releases later: by re-issuing La Bamba !

Vince