Rso disco love is on the way unopened record

yeahвЂ¦вЂќ was no more inspiring than вЂњThatвЂ™s the way, uh-huh, uh-huh, I like it, uh-huh, uh-huh.вЂќ As a high school friend once said, вЂњIвЂ™d be embarrassed if my parents walked in and caught me listening to a Grand Funk Railroad album. Rock aficionados who approached their music as Brent Sorkin didВ jazz scorned much of what could be found in a storeвЂ™s Rock Department. Admirers of Buffalo Springfield, the Allman Brothers Band and Bruce Springsteen, for example,В gave no quarter to the heavy metal bands that were sprouting like kudzu. They also noted that much of what passed for rock music was hardly edifying. Bethann Hardison, a black runway model in the 70s, claimed disco was вЂњcreated so that white people could dance.вЂќ Simple beats or not, some white rockers chose to remain wallflowers. The soul music and rock and roll that had dominated the airwaves were taking back seats to a spin-off musical genre that struck fans of the Beatles, Dylan and Stax-Volt artists as tacky, insipid and indicative of a rapaciousВ lifestyle prevalentВ just five years after Woodstock.ДiscoВ came off asВ a dumbed-down musical contrivance. вЂњRock the BoatвЂќ by the Hues Corporation, вЂњRock Your BabyвЂќ by George McCrae, вЂњKung Fu FightingвЂќ by Carl Douglas and вЂњLoveвЂ™s ThemeвЂќ by Barry WhiteвЂ™s Love Unlimited Orchestra all seemed omnipresent. The steady creep of disco became quite discernible in вЂ™74. Just think of these two words: Barry and Manilow. And besides, asВ Sorkin stated, mediocrity transcends racial barriers. вЂњCвЂ™mon over to my place and see the albums by Al Green, James Brown, Otis Redding and ArethaвЂќ was the incensedВ reply when oneвЂ™s perspective on music as related to race was questioned. Those of us schooled in 60s rock and soul dismissed the racistВ accusations as well. Hardly anyone advocated, besides the journalist Ralph J.В Gleason,В for an artist as Sorkin did for Miles Davis. He extolled the works of John Coltrane, Dizzy Gillespie, Oscar Peterson and especially Miles Davis. The music he loved and promoted was written and performed by black Americans. Everything before disco struck them as ancient and irrelevant.В That riled Sorkin most of all. In the debate, disco, even with its many white artists and fans, was considered by some as black music, and for the people makingВ that case, it was the black music that mattered most. Brent SorkinвЂ™s response was to the claim that those who abhorred disco were being racist. It concerned disco music, which most of us considered an unwelcome guest in the world of music as we defined it. Nearly a dozen Peaches employees wereВ in the storeвЂ™sВ back room, waitingВ for a staff meeting to begin. So said Brent Sorkin, wise manВ of the Jazz DepartmentВ at the Atlanta Peaches Records and Tapes. ButВ less thanВ two yearsВ later, people working onВ behalf of RSO, were manipulating the numbers to see that the Bee Gees вЂњmatchedвЂќ the Beatles. Maurice GibbВ declared вЂњnobody ever matched the Beatles.вЂќ How true. And when it comes to friendship, well, that should not stand in the way of business. But the business takes precedence over the music. But then there was the opportunity to run RSO.В So much movement in the music business. He was especially instrumental in the promotion ofВ solo albums by Lennon, as well as thoseВ by Paul McCartney. Previously Coury had been with Capitol Records, where he was closely involved with the Beatles, before and after their break-up. In the late вЂ™70s he was President of RSO Records, for whom the Bee Gees recorded. In a 1977 interview with Frank Rose, Maurice Gibb remembered the easy going friendship he developed with Lennon in the mid вЂ™60s. He did so particularly in the early going, when the Bee Gees seemed just another band trying to emulate the BeatlesвЂ™ sound. EditorвЂ™s Note: John Lennon liked the Bee Gees.

Rso disco love is on the way unopened record