Skip to main content

Say, What Is This Thing Called Disco?: “Boogie Down” by Eddie Kendricks



People…Hold On was Eddie Kendricks’ second solo album; released in May 1972, it is a strikingly assured piece of work and is generally regarded as the first true disco record. The reason you don’t know anything more about it is in part due to Motown’s typically ham-fisted approach to its own back catalogue – a “limited edition” CD reissue (presumably limited to about thirty copies, all purchased by middle-aged men named Spike who subsidise their record collecting with the proceeds from drug-dealing) appeared in 2016 to no fanfare whatsoever. I suspect that this situation would not have come about if the album had been recorded by, say, David Bowie or Rod Stewart - let alone the lavish repackaging of records by even the most minor of eighties pop stars.

The inherent racism of the music industry and music consumers aside, the record’s acclaim ensured that Kendricks got the best solo start of any ex-Temptation. “Keep On Truckin’,” the first single from his fourth album, Boogie Down!, easily made number one in late 1973, and the title track nearly pulled off a double for him.

Even more concentrated on mood and groove than “Truckin’,” “Boogie Down” makes no concessions to any outside audience – you have to feel it even before listening to it, although really you should be dancing to it. Best experienced in its full-length album version, arrangers Leonard Caston Jr, Frank Wilson and David van de Pitte have a ball playing cat and mouse with strings, rhythm, voices and perspective. Like the best disco, the record could theoretically go on forever, and it gives us a preview of perhaps the biggest overhaul of pop since the fifties later that same year. Welcome to the newness of 1974 – and check out Eddie’s lucky shades of green in the Soul Train performance below.


Date Record Made Number Two: 9 March 1974
Number Of Weeks At Number Two: 2
Record At Number One: “Seasons In The Sun” by Terry Jacks
UK Chart Position: 39

Comments

Popular posts from this blog

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

Hey Now, Hey Now Now, Burn This Corrosion To Me: “Fire” by The Crazy World Of Arthur Brown

More so than “Born To Be Wild,” “Fire” marks the dividing line, where pop turns into rock, where psychedelia mutates into progressive, between fun for all the family and parents keep the hell out. Number one in Britain when I was four years old, it scared the shit out of me at the time. Even in a year which could already have been classified as pop in extremis – Dave Dee’s whip on “Legend Of Xanadu,” Jagger’s sympathetic Devil make-up on “Jumping Jack Flash” – Arthur Brown’s flaming colander crown and a Top Of The Pops performance of the song which appeared to show the band burning in forests of flame gave me genuine nightmares; not to mention the moment in the long-gone Vale Café in Tollcross when I accidentally pressed the wrong button on the jukebox and “I AM THE GOD OF HELLFIRE!” roared out. Now I already had cause enough to have nightmares in 1968, for reasons with which I shan’t bore you here. It wasn’t that pleasant a year, even from my juvenile perspective. But the...

What About All The Dreams That You Said Were Yours And Mine?: “MacArthur Park” by Richard Harris

The story begins with Bones Howe, a producer who, along with Jimmy Webb, worked on the first two albums by The Fifth Dimension – Up, Up And Away and The Magic Garden . This work was a happy affair, and while putting these records together Webb regularly confided in Howe about how he would like to expand the vocabulary and structure of the popular song. Spellbound, as with so many others, by Pet Sounds and Pepper , he was looking to do something similarly (if amiably) disorientating. Upon completion of The Magic Garden , Howe urged Webb to be as good as his word and compose the epic song that was in his head. Webb responded with a twenty-minute, multi-movement cantata – i.e. one whole side of an album – which he called “MacArthur Park.” Howe instantly thought of another of his production clients, The Association, who in late 1967 were looking towards the experimental and adventurous. Webb and Howe duly approached the group with this great notion. Figuring that The Ass...