Best From Artist 6 Village People

[paul]

Let's hear it for the Village People this week.

When I was a wee bit younger and less secure, I really liked In The Navy. It still remains my favorite cut from these men.

[Fantomas]

Never really liked a "lot" any of their songs, but did enjoy their music somewhat. I would choose Macho Man as their best. It had a nice beat.

[Boodikka]

Has to be "Key West" for The Goddess. As much as I loved (and still love) the first album, "Key West" is the only thing I ever really liked from the second.

[Jeff H]

My favorite is their first hit, "San Francisco/In Hollywood"--the attitude was still raw and noncommercial at this point. By the time "In the Navy" came out, even my mother thought they were "cute," for gawd's sake! And I think their finest gay camp number is "The Women," in which they sing the praises of some of our favorite show business divas. There was some awesome orchestration on their records and if you take them in the lighthearted spirit in which they were intended, the Village People were great entertainers.

[The Lord of Flatbush]

On 2002-04-09 09:31, Jeff H wrote:

My favorite is their first hit, "San Francisco/In Hollywood"--the attitude was still raw and noncommercial at this point. By the time "In the Navy" came out, even my mother thought they were "cute," for gawd's sake! And I think their finest gay camp number is "The Women," in which they sing the praises of some of our favorite show business divas. There was some awesome orchestration on their records and if you take them in the lighthearted spirit in which they were intended, the Village People were great entertainers.

Great job!



Also, I felt that San Francisco/Hollywood Medley was a hit.



The performance on American Bandstand signified that moment when they performed that medley.



The 12" version of Macho Man along with Y.M.C.A. were interesting remixes.



Another favorite of mine was "In the Navy", to which I was so happy when I picked up the promo 12" single years ago.

[markydefad]

Definitely, "San Francisco/In Hollywood". Having lived in both of these cities--the songs capture the essence of each. "SF" has the driving sexual pulse and energy and exhilarating sense of freedom that was SF in the mid-70's and "Hollywood" captures the campy, superficial, glitzy "are you anybody?" attitude that pervades the land of La-La, then and now.

[BrunoRepublic]

On 2002-04-09 12:51, markydefad wrote:

Definitely, "San Francisco/In Hollywood".

Same here. I can actually credit this as the track that really turned me on to disco. I had originally bought it used (along with a pile of other VP records) for the camp entertainment value, and a piece of homo history. I'd never heard the first album before, but the opening track absolutely blew me away. It was so intense, so raw, so full of energy, and so much... fun! It took me to another place and time altogether. This is music that you can't help but to smile when you hear it. It has such a glorious, warm, and somewhat naively happy feeling... completely unlike what you get out of dance music today.

[DJ P]

Yes I agree with the 'San Francisco/Hollywood' medley as their best!! Great dance music, and nothing 'campy' about the song 'medley'. It was a great disco song that told a story, had a great sound and was fun to dance too!! This song placed them in disco history before anyone was guessing on (you know what) they were. A few facts I came across: Victor Willis (the first (he was replaced by 'Ray Simpson'-Valarie Simpson's brother from the duet group 'Ashford and Simpson'(Found a Cure)cop'/lead vocalist was (or still is sorry I don't know) to the actress that played Bill Cosby's wife on both of his sitcoms. Randy Jones (the 'Cowboy') used the money and is (or was) operating a retail card shop. Clenn Hughes (the biker) is stil with the group, not preforming but as of what advent his duties are I don't know. The 'Macho Man' LP was recorded on Casablanca records in 1978. The LP that has the 'San Francisco/In Hollywood' Medley was recorded on the same lable in 1978 making that thier first. Some details for some one that doesn't own a copy of the lp is as follows: The lp was composed and produced by Jacques Morali for 'Can' Stop Production INC.', The Executive Producer was Henri Belolo. On the LP special thanks were given to: Phil Hurt, Peter Whitehead, Gypsy Lane,Horace Ott, Barbara Tiesi, Laka Gardner, Victor Willis and Colt Studio. On the back of thier first lp the 'Cowboy' (Randy Jones) doesn't look like the preformer. Same is with the biker on the back of the lp, as the person dosen't look like Glenn Hughes. Victor Willis is on the back cover (bottom right, no shirt, white pants, knelling as with Flipe Rose (the Indian, he is standing) and the (construction Worker-kneeling like Victor Willis) David (Scar) Hodo. The singer that was the 'G.I.' Alexander Briley from my viewing of the lp jacket isn't on it. So were their parts on the first 'Village People' lp preformed by some one else? I see nothing on the LP jacket giving those two artists credit on the first LP. Does anyone have and details or info to add/answer? All the best, Phillip K. Steele-PS-never post after a 'happy hour' in that you won't have to 'edit' it as much!!!!



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[Paulo]

My vote goes for KEY WEST, SAN FRANCISCO and TRASH DISCO from their live CD.

[Jeff H]

DJ Phil--



Sorry to have to add that "leatherman" Glenn Hughes passed away last year, from lung cancer, I believe. And I read somewhere that Victor Willis (yes, formerly married to "Mrs. Cosby" Phylicia Rashad) had developed a nasty drug habit and was homeless and involved in an assault of some kind. (Can anyone confirm or correct this?)



I think the first LP didn't have credits because the concept for the Village People hadn't been fully realized yet. It's probably safe to assume that after the first LP was a hit, Jacques Morali took the Greenwich Village clone concept and really ran with it, creating the characters and hiring the "singers."

[markydefad]

While we're talking about that first Village People LP, I'd like to remind everyone and inform the new folks that one of own members played tambourine on that LP and is credited on the back cover: Nicky (Ron Nicholson).



Nicky, tell us the stories about the recording session, PLEASE!!!!!!!!

[maarten]

I choose "Spend the night" (if I remember the title correctly, as I am not at home right now). This track was on their last (?) album, when a lot of the band members had changed (again: ?).



I just liked that tune as it was a very catchy dance pop track - a great radio song that never went anywhere. All the other VP stuff is far too commercial and 'over-the-top' for my tastes. And I can not STAND "In the navy" or "YMCA" as I had to play them TO DEATH in the club I used to work. I HATE THOSE SONGS!

[HustleBaby]

I would choose San Francisco/In Hollywood. I'm SO tired of YMCA!



*DELIGHTFUL*

[BrunoRepublic]

A few facts I came across: Victor Willis was (or still is sorry I don't know) to the actress that played Bill Cosby's wife on both of his sitcoms.

They were briefly married in the late 70s. Phylicia Allen (as she was known at the time) was also one of Jacques Morali's artists, and put out a fabulously campy album called "Josephine Superstar" -- a disco tribute to Josephine Baker(!).

Randy Jones (the 'Cowboy') used the money and is (or was) operating a retail card shop.

I saw an interview with him not too long ago, and he boasted of not having to have a job thanks to his time in the VP.

Glenn Hughes (the biker) is stil with the group, not preforming but as of what advent his duties are I don't know.

Passed away recently; see Jeff's post.

On the LP special thanks were given to... Colt Studio.

...Who supplied the models that appear on the cover.

So were their parts on the first 'Village People' lp preformed by some one else? I see nothing on the LP jacket giving those two artists credit on the first LP. Does anyone have and details or info to add/answer?

It should be stressed that VP was really a creation of Jacques Morali, who passed away in the early 90s. With the exception of Victor Willis, the other members were initially only performers who were hired for their image and dancing ability. Jacques wrote and produced all of the music, and simply hired studio musicians to sing/play instruments etc. After the surprise success of the first LP (which was not widely promoted, and aimed only at the gay disco crowd), Morali decided to create a solid lineup and image that people could relate to.



If you like VP, you should really check out some of Morali's other projects, most of which have a similar sound:



The Ritchie Family: several LPs from 1975 - 1983; 80s LPs not produced by Morali

Dennis Parker: Like An Eagle, 1979

Phylicia Allen: Josephine Superstar, 1978

Patrick Juvet: Got A Feeling, 1978; Lady Night, 1979

Eartha Kitt: Where Is My Man, 1984



Morali also produced several one-off singles for labels like West End in the early 80s. For the most part, these are fairly unremarkable. To the best of my knowledge, he didn't produce any more music after 1986 or so.

[JussiK]

"San Francisco/Hollywood/Fire Island" were given the Record Mirror seal of approval in England by the legendary James Hamilton who usually did not look favourably upon anything too insistently pounding with strings. Paul "Trouble" Anderson famed for his impossibly cool jazzy seratas is said to have spinned the tracks, too, so the first VP album was really a crossover. My pick: "Fire Island". Other titles: I'm not ashamed to shout out that I love the 12" version of "Can't Stop The Music".

[NickNack]

On 2002-04-09 19:12, markydefad wrote:

While we're talking about that first Village People LP, I'd like to remind everyone and inform the new folks that one of own members played tambourine on that LP and is credited on the back cover: Nicky (Ron Nicholson).



Nicky, tell us the stories about the recording session, PLEASE!!!!!!!!

OK. Here's my little bit of history. But before I begin:



1) Mark - Thanks for remembering. Makes one feel like a ***STAR***

2) My favorites: San Francisco/Hollywood, Fire Island



Now, the dirt: PART 1 - THE MEETING



It's about 3 AM on a weeknight in the fall of 1977. I was hanging out at Keller's Bar in The Village, NYC, with Billy (William Penelli - the second tambourine player) and friends. (Great thing about being a DJ - don't have to crawl out of bed and get to work in the morning.) Billy and I had been playing tambourines to the music in Keller's (there was actually a group ranging from three to a half-dozen or so during the evening) and had stepped outside for a break. Two guys approached and one asked if we wanted to make some money. His manner and attitude was like he was looking for a "trick". We both said "****-off", in those exact words. Realizing what just happened, he took out his business cards (no apology given) and started over, saying he was putting a record together and would like us to play the tambourines. If we were interested, be in the studio at 9 AM. Billy couldn't have cared less but I, even though I didn't recognize the name of Jacques Morali, recognized the studio, Sigma Sound. I was down to go and if I had to drag Billy kicking and screaming he was going, too. I was living in Brooklyn at the time but talked Billy into letting me stay in Manhattan with him so we could get uptown on time. (I never did find out who the guy was with Morali.)



PART 2 - THE STUDIO



Well, Billy did scream, hangover and all, but we cabbed it up to the studio - on time. Morali met us in the lobby. He was in full business mode now, (DIVA!) cold and indifferent. He brought us upstairs, told us where we could get some coffee (rank dispensing machine crap) and said sit and wait while they laid the tracks. There were no vocals as yet on these tracks and "The Village People" were not in the studio. When Jacques started bringing musicians in to work, only the basics had been put down --- drum, bass, guitar --- it was very raw. Billy and I sat there for six hours or more outside that glass window watching these guys come in one after another and do their thing. For me it was fascinating... watching the engineer, listening to the songs 'grow' out of what I initally heard that morning. (Billy was in misery and wanted nothing less than to kick my ass!) I remember one of the musicians walking into the recording room with a "suitcase". In it was all his bag of tricks - percussive instruments. He pulled out what looked like two small oars that smacked together. The engineer turned the track on and he started working them to the beat. The engineer turned a dial and the sound went from a 'wooden clap' to a sharp 'whip'. Jacques yelled "No! Too Donna". (Think "I Feel Love" being created in front of your eyes.) I was awed, Billy was bored, Jacques was pissed. This is how it went all day. We weren't introduced to anyone, we weren't fed and we couldn't leave because we didn't know when he'd call us. When it was finally our turn it was like, "OK - you two -inside". By this time, Billy and I knew the music inside out (smart, making us hear it all day) and Jacques told us he just wanted us to play like we did last night, straight across. He would signal us through the glass when to stop.



PART 3 - AGITA



Now, we've got problems. The man just told us to "play it like you did last night". To Billy and me, that means me keeping the basic rhythm (a-B/c-D or E-f-g/H-i-j) while Billy worked accents. To Jacques, it meant BOTH OF YOU play 'a-B-c-D' to every '1-2-3-4' of the songs. Billy HATED playing basics. He'd sooner put the tambourine down and break it than be forced to do that. After sitting around all day now he has being told how to play his tambourine. Not a happy man. I told him let's just get it done so we can leave.



So now were in basic training. The tapes are rolling and we're watching Jacques for our cues to stop. Problem? We're not stopping together. There's spill-over. Morali wants absolute death silence when he cues that beat. "Do it again. And again. Again!" After more than a half-hour of these stop/starts he realizes it ain't going to happen. The engineer comes up with the solution: We play straight through, non-stop, he will "punch us in/out" as needed. Finally, we got it going on. He cued the tracks, we played them all the same way (BORING! Well, not for me) and we were done. Jacques thanked us, explained why we had to wait (we weren't union), took our names down for the album credits (still couldn't spell mine correctly), gave us each $50.00 and said go home.



That's it. No flash, no sizzle. I assume Felipe (The Indian) did his bells on another day and I think Graham may be right about the group not really being formed yet. Morali had the concept but was still working it all out. That back cover photo was taken in Badlands, a bar one block away from Keller's. Obviously all those guys were not part of the group. A little more trivia (for Maarten): My main gig at the time was DJ at Peter Rabbit. Just think how pissed my bosses were when they saw the album and it read 'Ron "Nick" Nicholson from Keller's'. Oh, ****. Lucy --- you got some splainin' to do...



_________________

Life Is a Dance

Nicky



<font size=-1>[ This Message was edited by: NickNack on 2002-04-12 15:12 ]</font>



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[maarten]

Excellent story. And I promise I will give the first album a go.

[The Lord of Flatbush]

That was an excellent story! It only goes to show that many hours in a studio will make your mark.

[paul]

Fascinating story Nicky. Now I'm curious to know what BS you used to explain to your bosses, why another club appeared on that album with you?

[NickNack]

On 2002-04-12 20:11, paul wrote:

Fascinating story Nicky. Now I'm curious to know what BS you used to explain to your bosses, why another club appeared on that album with you?

Ah, my Brother, lucky for me I didn't have to BS. Plus, I had backup, my dj friend Larry Rossiello. He worked Peter Rabbit before me.



The credits, as they were written, were Morali's choice. He didn't ask if we worked other clubs. He didin't care or maybe it just seemed unimportant. Whatever place he "found" you, that's how he listed it. So, I was "from Keller's" because that's where he saw us. Felipe was "from The Anvil" for the same reason. Jacques was actually gathering and creating his Village People. Still, Peter Rabbit was not happy, as you can imagine. Who wouldn't want publicity like that... for FREE?

[Robbie]

"Fire Island" is a standout. I love it for the music itself, especially the intro. "San Francisco/Hollywood" is another great one. I have their 1977 AB appearance on tape. I also thought their medley of "Just A Gigolo/I Ain't Got Nobody" from the "Macho Man" album was good as well.

[paul]

Thanks for sharing those moments Nicky.

Ahh, the memories my friend. It must still give you a warm feeling whenever you reminisce on the experiences from the period.

[Jeff H]

What an amazing story, Nick. Thanks for sharing it!



Oh, and I agree with Robbie that the "Just a Gigolo/I Ain't Got Nobody" medley is another great song--in a campy, kitschy kinda way.