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Henry Stone

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Henry Stone talks to DiscoMusic.com about TK Records, the Miami Soul and Disco scene and KC and the Sunshine Band. (b. June 3, 1921 - d. August 7, 2014)

Written By Bernard Lopez of DiscoMusic.com

Henry Stone of TK RecordsDiscoMusic.com is proud to present another one-on-one interview with none other than Henry Stone who is the founder of TK Records, promoter of the Miami Sound or Sunshine Sound and the one who gave KC and the Sunshine Band their first recording contract in 1973.

While Stone was a pivotal figure in the development of Disco and soul music during the 1960s and 1970s, his involvement in the music industry stretches back to the 1940s with his R & B recordings and distribution of what were then called "race records."

My conversation with him was both fascinating and very educational. Henry Stone’s involvement in many pivotal Soul, R & B and Disco tracks over the decades is a testament to his promotions talent and staying power. Stone's recall of dates and events was a welcome surprise. He has done it all from selling 78 RPM records and recording Ray Charles in 1951 to signing Boris Midney in 1977 and making the move to the internet.

The Early Henry Stone Years

Henry Stone was born and raised on Jackson Avenue in the New York City borough of the Bronx on June 3, 1921. His family stayed in the Bronx until their move to Manhattan’s Washington Heights neighborhood. Henry remained in Manhattan till the age of eight before going away to an orphanage in Pleasantville, New York after his father passed away. He remained at the orphanage until the age of fourteen.

When Stone is asked if music played a major part in his life at this time he said, "Yes, it did because while I was away at Pleasantville I started a little band and I picked up the trumpet. I stayed with the trumpet… and continued taking lessons until I went into the Army."

It was 1943 when Stone joined the U. S. Army. He was stationed at Camp Kilmore in New Brunswick, New Jersey for three years. He played in the first racially integrated Army Band and recalls, "I spent a lot of time with Black musicians and that’s where I got a lot of my Blues background."

After Stone's discharge he made a major decision to drop the trumpet and move to California, "I wasn’t as good as the great trumpet players I worked with such as Shorty Rogers. I was good, but not good enough. When I got out of the Army I hooked up with an old band leader by the name of Ben Pollock." Pollock was running Jewel Records and handling people like Benny Goodman… Henry Stone became their A & R man. Stone later moved to Modern Records and worked with the Bihari Brothers selling and promoting records. Since Stone was selling 78 RPM "race records" and there weren’t many radio stations or record stores at the time he mostly sold and promoted to jukebox operators.

Henry Stone: Godfather of the Miami and Sunshine Sound

Ray Charles photoStone stayed in California till about late 1947, then decided to move to Miami, Florida. There he continued distributing records for Modern, Black & White, Apollo and many other record labels. Stone found Miami to be a great area for R & B music and says, "It was sort of a specialized thing at the time cause I didn’t get into hillbilly music. R & B or race music at the time was sort of my niche because I liked and enjoyed it."

While selling records under the name Seminole Records Distributing, he always dabbled in recording some of the artists he encountered along the way. As he puts it, " I always had a little recording studio in my back pocket cause I like to make records. Instead of playing golf or shooting pool I liked to make records." He used an Ampex reel to reel tape machine for those impromptu recording sessions. I asked Stone if any of those recording became hits or collectible later on and he replied, "Ray Charles came to Miami n 1951 and I ran across him and he told me he needed to do a gig… I invited him to my recording studio and we cut four sides." The 78-RPM recording of St. Pete Florida Blues ended up selling fairly well in the South and is considered highly collectible today.

Since he has seen all the various recording formats come and go it was interesting to hear his feelings on this. "When you do these things you do them… You don’t see it (the changes and new formats) you do-you don’t have time to see it. When you think back you can." He does say that he was happy to see 78 RPM records go away since they were fragile and difficult to transport.

James Brown with henry Stone photoDuring the 1950s Henry kept busy by building his distribution company and recording local artists. He says, "I always liked to make records (produce and record them). That was my hobby. I did a lot of Blues stuff with Earl Hooker, John Lee Hooker… These appeared as singles. The singles business was the record business. The LP business didn’t come into play until a little later."

Around 1955, Stone stopped distributing records to work briefly with King Records where he co-owned a label with them called Deluxe Records. One of Stone’s first big hits at Deluxe was Hearts of Stone by the Charms. It is at King where he would meet and later record James Brown with songs like Please, Please, Please. Leaving King Records Stone went back to record distribution and formed a new company called Tru-Tone later to become simply Tone Distributors. He would distribute records for Atlantic Records, Motown Records, Stax Records and many more independent labels right up through the 1960s and 1970s.

Although he returned to distribution during the 1960s and 1970s, Stone continued recording R & B artists at his recording studio and then leasing the rights to larger record companies such as Atlantic Records. The most notable of these being the 1971 smash hit Clean Up Woman by Betty Wright and later the Junkanoo and pop hybrid Funky Nassau by The Beginning of the End. Stone also set his sites on the publishing aspect of the music and set up corporations for that as well. The most notable being Sherlyn, which can be seen in small print on the label of many of his records including TK.

Record label logos for Drive, Cat, Glades and AlstonHere’s a brief list of record labels that Henry Stone had an interest in:

  • APA
  • Alston (in partnership with Steve Alaimo)
  • Blue Candle
  • Bold
  • Cat
  • Chart
  • Dade
  • Dash
  • Deep City
  • Deluxe (in partnership with King Records)
  • Drive
  • Glades
  • Glory
  • Gucci
  • Hot Productions
  • Kayvette (partnership with Brad Shapiro)
  • Marlin
  • Nezz
  • Reid’s World
  • Rockin’
  • Saadia
  • Scott
  • Silver Blue
  • Summer
  • Sunnyview (in partnership with Morris Levy)
  • Sunshine Sound Disco (label meant to spotlight KC & Finch productions)
  • T. K. Records / T. K. Productions
  • Time-X

Although labels such as Malaco and Juana are erroneously credited as being owned by Henry Stone, they were not. They were only distributed by TK Records.

TK Records and the Disco Beat of the 1970s

Photo of Timmy Thomas of "Why Can't We Live Together " fame at the micAs big a contribution as Henry Stone made to the history of Rhythm and Blues, the one that we will concentrate on is Disco music via his TK Records label. The story told is that he had a killer track ready to go out, which he was considering leasing to Atlantic Records. However, six months prior Henry Stone got word from Jerry Wexler of Atlantic that they were going to merge with Warner and do their own distribution through the newly formed WEA (Warner / Elektra / Atlantic) conglomerate. Stone made the decision to distribute it himself and that record was the million selling hit Why Can’t We Live Together by Miami Beach lounge owner Timmy Thomas. This, he claims was the first TK Records release. He clarifies this by saying, "This was the first national record that I distributed myself under the TK Corporation. It was released under the Glades label, but distributed by TK Records."

The "TK" in TK Records stands for Terry Kane who built the recording studio above Stone’s office at 495 SE 10th Court in Hialeah, which is just outside Miami. Stone wanted another corporation that was separate from his distribution company so when he needed a name for his new corporation he chose Terry’s initials. Viola, TK Records, or as is sometimes printed, T.K. Records or even TK Productions, was born.

When Henry was asked why he had so many record labels he responded, "One of the reasons that came about is that I was a record distributor. As a major record distributor in Florida I distributed every independent label in the 1950s, 60s, 70s… and then when I decided to get into the record manufacturing business I found out it was easier to get records played if they were on different record labels. Like if you had five hits as an independent on TK Records you were in trouble with the radio stations." When asked why was that his reply was, "Because they thought that I wasn’t doing the right thing by having five hits. It’s a little concept that I came up with and it worked. Then I started putting things on different record labels like I kept KC and the Sunshine Band under the TK Records label…" Henry Stone was spreading the wealth amongst his record labels.

K.C. and the Sunshine Band

Photo of Harry Wayne Casey and Rick Finch of KC and the Sunshine Band in the TK Records studioHarry Wayne Casey and Rick Finch formed KC and the Sunshine Band around 1973 while they both worked at TK Records. KC (Casey) was originally a self appointed intern who swept the floors and helped pack the records in the warehouse while Finch was a student engineer and bass player in the house band. As teenagers working together at TK Records the two began collaborating on writing and performing songs. Stone says, "I put KC and Finch together since KC made it known to me that he liked to write music. They would hang around and work in the studio after everybody left at midnight. They went upstairs in the studio to make tracks so one day they came down with a track to my office. They played this track for me and said it was a song for KC, but KC couldn’t sing it cause it was a little too high. Sitting in my office was George McCrae (Bio) who I knew had a high voice and was married to Gwen (McCrae). George came up to the studio and cut the record and brought the finished product downstairs and it was a smash hit of course, Rock Your Baby (1974)" The story goes that George McCrae cut Rock Your Baby in two takes.

Although KC and the Sunshine Band released Blow Your Whistle in 1973 and Sound Your Funky Horn in 1974, Stone claims their first hit was Queen of Clubs, which went in the Top 10 in the United Kingdom. Although not doing much in the U. S., KC and the Sunshine Band’s next hit, Get Down Tonight, from 1975 is what broke everything wide open.

Harry Wayne Casey (KC) packing records in the TK Records warehouse In the book, That’s the Way I Like it: the Harry Wayne Casey Story, Craig MacInnis wrote, "Much has been written about Get Down Tonight, which became the band’s first number one hit in the summer of 1975, setting in motion a prolific cycle that would eventually see the group chart four number one pop singles in a year, tying a record set by The Beatles."

KC and Finch produced songs for Jimmy "Bo" Horne such as Gimme Some and the all time Disco classic, Spank (Sunshine TKD 206), which all appeared on Sunshine Sounds Records-another Henry Stone label. In addition, Margaret Reynolds, who was one of the backing ladies in KC and the Sunshine Band had a sizeable club record in 1979 with All Day, All Night (Sunshine Sound TKD S-4213). To add to their resume Henry Stone put Boogie Shoes on the Saturday Night Fever soundtrack.

Listen to Spank by Jimmy Bo Horne:

The T. K. 12 Inch Disco Single

Wild Honey - At the Top of the Stairs record label scanAround 1975-76 a new vinyl record format was taking the Disco DJ world by storm. It was the new 12-inch Disco single, which offered better dynamics, deeper bass and extended play capabilities that simply weren’t available from the 7 inch 45 RPM record or the standard 33 1/3 album.

Even the early TK 12 inch Disco singles boast high quality sound so when Henry Stone is asked if sound quality was a major concern he replies, "Absolutely, if you listen to all my records-to this day even the first Ray Charles record in 1951… it is unbelievable. I was very involved with my sound. That’s a very important thing with me. All my twenty-one hits were live recordings. None of that technical or digital stuff."

TK recording artist, Peter BrownThe first 12 inch single on TK Records was At the Top of the Stairs by Wild Honey (TK TKD 1) in 1976. It was produced by keyboardist Ron "Have Mercy" Kersey of the legendary Trammps (Disco Inferno) and countless other Philly Sound productions. While this may seem an odd choice Stone mentions, "The Philadelphia sound was always one of my favorites." Other releases that support this are Bobby Eli’s tracks on Silver Blue Records like Love Chant, which could easily be mistaken for a Salsoul Orchestra production

The ubiquitous yellow label and the tropical looking record jacket with TK Disco spelled out in bamboo would become a staple in every Disco DJ’s crate. It garnered such a strong following among DJs that Stone chose to release every 12 inch single under the TK label regardless of whether the artist / LP originally appeared on his other labels such as Marlin, Dash, Drive, Silver Blue and Cat. Stone adds, "We directed all our promotional records initially to the clubs and when we sent out that TK jacket it got played immediately. That TK jacket was a valuable asset…"

Henry Stone in the TK Records office circa 1975While Henry oversaw and ran almost every aspect of TK Records, he wisely assembled a team of individuals who helped promote and operate the rapidly expanding label. Steve Alaimo, who once hosted a 1960s ABC television show called Where the Action Is, was the head A & R man for TK. He also was the "A-L" in Alston Records where he recorded a single called Every Day I Have To Cry. Stone later goes on to say that he opened an office in New York and had a very good promotions man early on at TK by the name of Ray Caviano. The late Caviano eventually left TK after landing a big contract with Warner / Atlantic along with his own label called RFC Records, which was best known for Gino Soccio and later Change.

While KC and the Sunshine Band is the best known and arguably the initial driving force behind TK Record’s popularity, other Disco artists share the credit. Ralph MacDonald who was best known as a Jazz musician scored big with Calypso Breakdown in 1976. Chicago native Peter Brown gave TK Records their first 12 inch gold record with Do You Want To Get Funky With Me from 1977 and later went to co-write Material Girl for Madonna.

Gwen McCrae (l) and George McCrae (r) photoEven Gregg Diamond, best known for producing Andrea True’s More, More, More, had his Star Cruiser Band, which yielded the hit Star Cruisin’ and also produced George McCrae’s Love In Motion. The group Foxy best known for Get Off and Hot Number, had Tito Puente’s son Richie Puente in their lineup. Other Disco artists that put TK Records in the limelight were the French group Voyage with their Euro-Disco smash Souvenirs and Russian born musician Boris Midney with his USA / European Connection and Beautiful Bend studio groups. Anita Ward had a huge hit with Ring My Bell, which was originally written with Stacy Lattisaw in mind. Even James Brown, the so-called Godfather of Soul, released a few singles at TK including 1980’s Rapp Payback (Where Iz Moses) as well as TK house songwriter/musician Clarence Reid using the moniker Blowfly for his X-rated lyrics.

Listen to Souvenirs by Voyage:

All told, TK Records released about 200 12-inch Disco singles, starting with TK TKD 1 through TKD 158, then skipping to the 400 series with Latimore’s Goodbye Heartache release. Stone says he does not recall the reason for the numbering change, but approved the changeover at the request of the promotion team.

TK Records and the Saturday Night Fever Connection

Norman Harris, Bobby Martin and Bobby Eli photoA little earlier Henry Stone had mentioned that he had given permission for RSO Records to use KC and the Sunshine Band’s Boogie Shoes in the Saturday Night Fever soundtrack. In addition, he gave RSO Records Ralph MacDonald’s number one Disco hit, Calypso Breakdown. I asked Stone if he had any idea how big Saturday Night Fever was to become and his response was, "Not even an inkling-not even a little bit. I just did somebody a favor over at Polygram. Ah, you throw them a couple of tracks, ha, ha." Thinking about it now he wishes he had given them more tracks to use. When asked what else he would have given to the Saturday Night Fever soundtrack he remarks, "I don’t know. I guess I would have given them more KC and maybe Foxy’s Get Off, just some good dance records."

The Disco Backlash

In 1978 and 1979 TK Records was flying high with Disco. Disco music was everywhere and Stone enjoyed the sound that his label was helping to spread. Did Stone envision the Disco backlash and its repercussions? "You have to remember (practically) every Disco record that I put out whether you want to call them Disco or dance-I put on the Pop charts. I crossed every one of those records over including Voyage and Boris Midney. Even some of the Blues type records by Latimore and Gwen McCrae-they all crossed over. Quite a few number ones… That happened (the Disco backlash) like in 1979/80-I was going along strong. TK was strong, going along with hit after hit. Then came the anti-Disco movement over in Chicago and that spread around the country. Then the CBS television news program 60 Minutes picked up on it and said Disco is dead and mentioned my company (TK Records) and Casablanca… The Wall Street Journal has a headline, ‘Disco Is Dead…" It was terrible really. At that time I had the number one record in the world with KC’s first ballad Please Don’t Go. I was just freaking out cause the feedback came financially-it hurt my company-every company. The whole industry collapsed. When you are sitting there with all those great records and doing a lot of business you don’t think about that."

Henry Stone Today

Photo of Henry Stone and George McCrae holding his gold record for "Rock Your Baby."TK Records ceased operating by 1981 with some of its final releases being Another One Rides the Bus by "Weird Al" Yankovic and James Brown doing a rehash of Mashed Potatoes.

Despite having to close TK Records, Henry Stone went into partnership with Morris Levy of Roulette Records to form Sunnyview Records. Throughout the 1980s, Sunnyview would usher in the Electro Funk sound with tracks such as Jam On It by Newcleus as well as reissues from the TK and Roulette catalogue like Touch and Go by Barbara Roy and Ecstasy, Passion and Pain. Stone would later have a hand in making Company B’s Fascinated a major record in the late 1980s.

AmantIn 1990, all the assets, including the entire TK and associated labels record catalogue, had been sold to the reissue specialist Rhino Records. Stone later became involved with Hot Productions in reissuing Disco and dance classics on CD. He is no longer with Hot and now spends his time working on writing a book about his years in the music industry. He is about a quarter of the way through. Stone recently put out, Hearts of Stone, a double CD compilation of tracks he was involved with from the 1950s onwards, which is available at his new web site called Henry Stone Music. It was a pleasure to hear his story and I would like to thank Henry Stone for being generous with his time and for giving us the Disco soundtrack to our lives. I would also like to thank Marty Angelo of Disco Step By Step (TM) and Ron "Nicky" Nicholson for their assistance with this piece.

If you have any comments on what you have just read feel free to post a comment at the bottom of this page.

Henry Stone Update: December 2004

Jimmy Bo Horne - SpankHenry Stone sent me an e-mail referencing a Miami Herald article that describes how he is involved in a legal battle with the estate of the late Ray Charles over the ownership of master tapes in Stone's possession. Ray Charles, a Florida native and then unknown musician, travelled to Miami back in 1951 and recorded four songs for Henry Stone's Rockin' Records for which Stone paid about $100.00 a song. Stone has since released the songs on a compilation two disc CD called Heart of Stone: The Henry Stone Story. Charles' estate had threatened to sue if Stone did not turn over the masters to which Stone reacted by suing in a pre-emptive effort to retain the rights.

TK Records / Sunshine Sound 12 Inch Singles Discography

- The End


On August 7, 2014, Henry Stone passed away at the age of 93 from natural circumstances as reported in the Miami Herald. Condolences go out to Mr. Stone's wife, family and friends. Rest in peace.

Written by Bernard Lopez (July 18, 2003)
Copyright © 2003 by Bernard Lopez
All rights reserved

Henry Stone Recommended Listening / Reading

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Your Comments

dj mighty master cee | Oct 24, 13 | 9:49 pm

I still remember. when I first heard blow fly on tk

RGH | Sep 11, 10 | 3:03 pm

Something different: What Lowrey organ was used on Timmy Thomas record Why Can't We Living?

Michael H Kemp | Sep 23, 09 | 8:22 pm

I would be interested in finding out any information concerning a brilliant drummer from the Bahamas named Ivan 'Cool Breeze' Olander who worked with TK Productions in the 1970's. Iwould be most interested in obtaining a copy of any video recordings you may have concernigthis gentleman, I understand that he played with agroup called the RISING SUN and I also understand that he backed up Betty Wright on the Mike Douglas Show. Please do your best to help me in this regard

MorningAfter | Aug 26, 09 | 10:27 am

A very interesting article about the life and times of Henry Stone. To know that he went into business with Morris Levy (read chapter 3: "Lullaby Of Gangland" in the book HIT MEN by Fredric Dannen, says it all!

Ken English | Dec 24, 08 | 3:08 pm

So, does anyone know where Terry Kane is nowadays?
I worked with him in Macon, Georgia in the early 1970's, at Capricorn Studios. Heard he was in New Orleans after that.

Wonder B | Oct 11, 08 | 8:36 am

Great insight with this interview. I like everyone who revere my TK record collection.
I would have loved more developments on his part about the GLADES & BOLD labels (remember Reid Inc. or F.A.T. aka Fats Gallon?) and or info about some of the more obscure artists like Wild Honey or Obatala...
Funny too that there was no mention of T-Connection who did a lot for TK including wonderful tracks like Saturday Night or At Midnight.
Since this interview is a bit old now I wonder if Henry Stone is still alive and (or) if he did publish the book he was working on...

vyniljunkie | Feb 19, 08 | 9:01 pm

Besides being a bad dude, Henry Stone did put out some great music. I loved the T-Connection, DO WHAT YOU WANNA DO is my favorite TK recording, even more than George McCrae, Peter Brown or even VOYAGE. And those were classics for sure!! Let us not forget Ralph MacDonald, Timmy Thomas or anything that Ray Martinez touched, Celi Bee, AMANT. Another classic was DEVIL'S OWN. I could go on, and on. Henry Stone put out great music, but he came from the OLD WAYS of doing business, me first, you not at all.

vyniljunkie | Feb 16, 08 | 9:29 am

Okay, yes he was very important in the MIAMI sound, but what he did to his artists and performers was wrong. He ripped them off.

gary vandy | Sep 06, 07 | 11:47 am

I know Henry and did many albums for him as and engineer and producer. He never failed to pay me. I don't know any artist who ever thinks that the record company is fair. To be honest in that era the royalty structure was really horrible and many musicians didn't receive what they deserved. But on the other side of the coin many or those artists would have never had their music heard.

BOBBYMANDINGO | Aug 26, 07 | 4:45 pm

Everyone in the industry knows what Henry Stone did to his artist!
Shall we say? Where's the Royalties?
Once, Betty "Clean up woman" and Betty went to Henry's office and stated she was leaving TK and that Lotsa monies were not paid! Betty threw up a Storm!Well the following day Henry Stone gave Betty a brand new Cadillac to make peace and that was it.I just found this site so whether if Henry's alive or passed, He knows what he did to his artist.As for K.C., he learned from Henry Stone how to do the same to his co-partner Rick Finch.Miami in the 70's and 80's was a "COKEWORLD" everyone was under sedation so lotsa artist lost track of monies, and of the thieves that took advantage of their talents.
Still great music era,and lotsa interesting characters..

Gary Sullivan | May 31, 07 | 10:20 pm

Does anyone know what happened to the band member of Nasty/The Scott Allan band? Gary Sullivan played drums on the album that was never released and would like to know what happened to the other members of the band.

JOHN "JOHNNY" NANCE | Jan 08, 07 | 9:46 pm


I was a member of The Urban Crisis Band out of Chicago signed on The Glades Label in 1975.

We recorded a 2 sided single "Spread Love Around" & "Sugarman" in 1975 both of which featured Timmy Thomas on Keys, produced by Maria Rector & Steve Aliamo in what was then their brand new studio.

We were told by the company that we were going to be as big as KC - but you know how that goes.

Despite the fact that it never happened for us the experience of being there remains a major benchmark in what is now a 40+ year career.

I later became the lead guitarist and close personal friend of Deon Jackson (Love Makes The World Around). We also did some killer stuff in the mid 80's.
Deon and I have remained very close over the years.

Maria is still stunning as she approached her mid 70's.

Presently I own and operate John Nance Entertainment and am involved in all kinds of really exciting stuff!

Me and the original cornerstones of Urban Crisis still get together to do studio stuff and Evanstock - the festival

A few months ago we were contacted by a record company in the UK about re-releasing our single but nothin' yet.

I am glad to hear that he is still hanging in there.

Thanx for the memories!

Steve DeGroodt | Apr 07, 06 | 6:29 am

Thanks for the interview tho am sure there is more to the story.

In 1971 I wrote, sang and recorded a song called Motor City Madness Sherlyn Pub. BMI D-6223-A, a Marlin production, the first single on their DRIVE label. Willie Clarke and Betty Wright produced the record. Rick Finch dubbed the special efx of a dragster reving its engine and burning rubber at the begining of the song. it was an soul rock record.

The name of the band was Together, we were a blue eyed soul band...the record got a lot of air play on WRBD in the Miami area.

It was a trip working with Ed Ward (lead guitar) who introduced me to Henry Stone. The production team Willie Clarke and Betty Wright, who was just having a hit w/ Clean Up Woman, were very cool to work with.

Begining of the End was also there working on Funky Nassau...very hip dudes. the TK scene at that time was pre-disco and more soul oriented which I loved . also can remember seeing boxes of tapes on the shelf labeled Ray Charles, Gregg Allman, etc. above the mixing board. I was restless and wanted to move to LA to play music and did.

the last few years have been creating contemporary art with shows in Europe and USA using my art degree....now have come full circle been writing songs making demos getting some air play in LA on KPFK fm. happy to seen the return of soul and the neo soul music scene.

tom prestopnik | Feb 08, 06 | 9:22 am

Listening to an album by Wild Oats on Clouds label. Can you tell me anything about this group? Thanks. T.

sammyperez | Dec 20, 05 | 4:22 am


Fantastic interview; Not only was it informative, but it brought back many memories. Thanks for acknowledging a great contributor to this genre we love called Disco. I have my share of TK 12" singles in collection. I think it's time for a Sunshine sound listening session.



QUINNY | Dec 20, 05 | 4:20 am

Just a thought, so don't jump on me, eh?
I wonder if Mr. Stone knows who ripped off KC so that he has to do revival gigs in order to keep the wolves from the door?
Otherwise, interesting interview with someone who's obviously had a full life.

usagi-san | Dec 20, 05 | 4:18 am

Thanks a lot, Bernie, it was great. I could spend hours going through it and pulling records out to reference details and remember things, even if I didn't play those records again at the time. I probably will, the next time I have hours to spare. It was great to see the discography list and choose which I want to try most to find of the ones I don't have.

One question: Since Henry gave RSO permission to use KC & The Sunshine Band's "I'm Your Boogie Man" in the "Saturday Night Fever" soundtrack, why did RSO choose to put the lesser hit "Boogie Shoes" on it instead, and did Henry give permission the same way for that?

Tony West | Dec 20, 05 | 4:15 am

It was interesting to read about the man and face behind certainly the most influential disco label of it's time.

As Forrrce wrote you are never far from a TK 12, I must say that I prize my Tk / Sunshine Sound 12"s beacause I just love those covers.

They just seemed to surmise the impressions and feelings that disco music gave me at that time, about warm summer nights in a club, hot with plenty of nice cold beer to keep one in action ,because down in Aus it gets a bit warm. It certainly must have been the Latin / Cuban influence on disco music that just makes me think of warm tropical places when I hear certain tracks. A good one that comes to mind is a Sunshine Sound track from George McCrae - Don't you feel my love. SSD-212 That track is still one of my all time favourites, and any track from the Gibson Brothers gets me feeling tropical as well

What would be interesting to know is whom designed those covers and what other (if any) well known designs they were involved in.

Cheers for now. Tony.

Forrrce | Dec 20, 05 | 4:12 am

Interesting story, Henry's obviously a bit of a chap. I've always wondered how many records he pressed, as 'til this day you're never more than inches away from several TK 12s, wherever you are on the planet.

DJ STEVE THE SAGA | Mar 26, 05 | 2:06 pm


rpavl | Dec 21, 04 | 9:58 am

According to Gwen McCrae and Anita Ward...TK was so unethical in paying royalties..Gwen McCrae claims she only received 10,000.00 in royalties for "Rockin Chair" and Anita Ward got little or nothing for "Ring My Bell" due to bankruptcy. The atmosphere at TK was that Betty Wright ran the place, even though other artists outsold her music 20 to 1(although i love her).


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