I bet that contract signed at 16 was a horror show! Ariola were another Euro (German) label of the time who exerted excessive control over their artists. Always thought the name Shelia & B Devotion sounded rather awkward, but then I found out it stood for Shelia & the Black Devotion so can understand why that was abbreviated! Btw, I can confirm that in England we do indeed start screaming as soon as we hear the first bars of Spacer. Some of us don't get out much!
It must have been quite the horror show, but managers like Carrère got away with it due to the general public’s ignorance about the inner workings of the music industry. At that young age, it was her parents who signed the contracts, and for the first 10-15 years of her career, she didn’t question things. To be fair, Carrère did his job—she achieved no fewer than 20 number-one hits in France, then the fourth-largest music market in the world.
The truly vile part of the story begins when she pushed forward with Spacer, which is why I wrote, “he wouldn’t forget.” I didn’t go too deep into the details since I was already running long, but it’s not a pleasant story. Carrère spread the false rumor that she had originally been a man—something that persists even today. He was likely also behind the viciously racist remarks from certain members of the press, who degraded her with despicable slurs. Like she was nothing but "une pute à nègres".
After researching and listening to her interviews while writing this story, I have nothing but respect for Sheila. She’s tough, she’s a survivor, and she’s undeniably one of France’s greatest artists. It’s no surprise the rift between them never healed—but in the end, she had the last laugh. She won her court cases against him.
Anyway, thanks again for your support, Paul, for reading and engaging. Wishing you a fantastic weekend! (And by the way, we all scream when we hear those opening notes of Spacer 😁😁—it’s such a powerful song!)
Just my two cents about the Disco Demolition movement and I promise I'll shut up after that. I strongly believe that one of the drivers behind this movement is the opposite of what the movement claimed. Disco, especially the '70s and early '80s disco, was way more complicated music than rock and the production standard was extremely high. I strongly believe that the reason rock bands revolted against disco, was because they knew they could never, both musically and technically, live up to the standard that disco had set.
I am a musician and an old fart, I've played mainly in jazz/fusion/funk and soul bands. We played a lot of disco in our sets and trust me when I say it's not that easy to play. Chord progressions, modulations, syncopation and "pocket and groove" are things that take a lot of time to learn and feel.
Disco Demolition was a all about levelling the playing field. Rock musicians and their record labels were sick and tired of those happy up-beat disco bands showing them how music was made and composed. They wanted their part of the pie.
Absolutely, Singleton. The Disco Demolition was driven by many factors, some of which had little to do with music at all. I’ll be revisiting this topic in future episodes, and I’m currently working on one specifically about what happened in ’79—the causes and the aftermath in both the U.S. and Europe.
Thanks for a good article lots of things I didn't know. In 1979 I was just beginning to emerge from a few years of only listening to reggae and the odd punky music and this track was a revelation. The 12 inch of Spacer was playing loud in my bed sit land Birmingham. My mates weren't sure but it changed my musical direction, disco and ultimately house became my music!
Literally haven’t thought about this song since 1979; thanks for the reminder. One thing I disagree with, listening today: It sounds exactly like a Chic production. I didn’t know it at the time, but it doesn’t sound like a departure at all to me.
😁 That’s exactly why I write this newsletter, Rick—to help you embrace your secret (or in your case, dormant) love of ’70s and ’80s dance music! 😁
I totally see your point about the difference between what came before and Edwards & Rodgers’ production. I agree—the sound doesn’t change structurally. The shift is there, but it’s more of an evolution than a revolution. Nile Rodgers’ own words confirm that they intended to make it a bit different. After my research, I’m pretty convinced they were aware of what was happening in Eurodisco and deliberately aimed for a more “European” feel. I even suspect they didn’t expect it to be a hit in the U.S.
Thanks for reading and sharing your thoughts, Rick! Enjoy your weekend!
Again a great article. I've always considered Spacer as just one of those Rodgers/Edwards spin offs, but was never aware of the story behind it. The French and their love for disco is quite something, till this day even. The only radio station I listen to for disco and funk is Génération Soul Disco Funk, based in France obviously. Thanks Pe, highly informative and entertaining.
You’re absolutely right—there’s something almost magical about the connection between France, the French, and disco 😃. They’ve contributed so much to Eurodisco and produced some outstanding remix work (think Dimitri From Paris for instance).
When I was handling catalog & compilations at Universal and Warner Belgium, I traveled to Paris three times a year and was always amazed by the way they curated and preserved the disco catalog. It was actually Warner France, not Warner or Rhino US, that released the Chic box set!
I’m not familiar with that radio station, but thanks for the tip! And thanks for reading and sharing your thoughts, Singleton. Wishing you a fantastic weekend!
Never heard this song before but it’s fantastic!! As always, I appreciate your impeccable research, it adds so much important context for the music
Plenty more where that came from! 😃 But seriously, I appreciate you reading and responding, Mark. Have a great Sunday!
Exactly what Mark said. Brilliant work, Pe!
Thanks Andy! Thanks for reading & reacting. Enjoy your Sunday !
I bet that contract signed at 16 was a horror show! Ariola were another Euro (German) label of the time who exerted excessive control over their artists. Always thought the name Shelia & B Devotion sounded rather awkward, but then I found out it stood for Shelia & the Black Devotion so can understand why that was abbreviated! Btw, I can confirm that in England we do indeed start screaming as soon as we hear the first bars of Spacer. Some of us don't get out much!
It must have been quite the horror show, but managers like Carrère got away with it due to the general public’s ignorance about the inner workings of the music industry. At that young age, it was her parents who signed the contracts, and for the first 10-15 years of her career, she didn’t question things. To be fair, Carrère did his job—she achieved no fewer than 20 number-one hits in France, then the fourth-largest music market in the world.
The truly vile part of the story begins when she pushed forward with Spacer, which is why I wrote, “he wouldn’t forget.” I didn’t go too deep into the details since I was already running long, but it’s not a pleasant story. Carrère spread the false rumor that she had originally been a man—something that persists even today. He was likely also behind the viciously racist remarks from certain members of the press, who degraded her with despicable slurs. Like she was nothing but "une pute à nègres".
After researching and listening to her interviews while writing this story, I have nothing but respect for Sheila. She’s tough, she’s a survivor, and she’s undeniably one of France’s greatest artists. It’s no surprise the rift between them never healed—but in the end, she had the last laugh. She won her court cases against him.
Anyway, thanks again for your support, Paul, for reading and engaging. Wishing you a fantastic weekend! (And by the way, we all scream when we hear those opening notes of Spacer 😁😁—it’s such a powerful song!)
Wow, quite a story! Makes the pic of her posing with Nile Rodgers even more powerful and significant
Just my two cents about the Disco Demolition movement and I promise I'll shut up after that. I strongly believe that one of the drivers behind this movement is the opposite of what the movement claimed. Disco, especially the '70s and early '80s disco, was way more complicated music than rock and the production standard was extremely high. I strongly believe that the reason rock bands revolted against disco, was because they knew they could never, both musically and technically, live up to the standard that disco had set.
I am a musician and an old fart, I've played mainly in jazz/fusion/funk and soul bands. We played a lot of disco in our sets and trust me when I say it's not that easy to play. Chord progressions, modulations, syncopation and "pocket and groove" are things that take a lot of time to learn and feel.
Disco Demolition was a all about levelling the playing field. Rock musicians and their record labels were sick and tired of those happy up-beat disco bands showing them how music was made and composed. They wanted their part of the pie.
Absolutely, Singleton. The Disco Demolition was driven by many factors, some of which had little to do with music at all. I’ll be revisiting this topic in future episodes, and I’m currently working on one specifically about what happened in ’79—the causes and the aftermath in both the U.S. and Europe.
Thanks for a good article lots of things I didn't know. In 1979 I was just beginning to emerge from a few years of only listening to reggae and the odd punky music and this track was a revelation. The 12 inch of Spacer was playing loud in my bed sit land Birmingham. My mates weren't sure but it changed my musical direction, disco and ultimately house became my music!
The magic of a Chic production! 😁 Thanks for reading and reacting, Paul. Have a fantastic weekend!
Literally haven’t thought about this song since 1979; thanks for the reminder. One thing I disagree with, listening today: It sounds exactly like a Chic production. I didn’t know it at the time, but it doesn’t sound like a departure at all to me.
😁 That’s exactly why I write this newsletter, Rick—to help you embrace your secret (or in your case, dormant) love of ’70s and ’80s dance music! 😁
I totally see your point about the difference between what came before and Edwards & Rodgers’ production. I agree—the sound doesn’t change structurally. The shift is there, but it’s more of an evolution than a revolution. Nile Rodgers’ own words confirm that they intended to make it a bit different. After my research, I’m pretty convinced they were aware of what was happening in Eurodisco and deliberately aimed for a more “European” feel. I even suspect they didn’t expect it to be a hit in the U.S.
Thanks for reading and sharing your thoughts, Rick! Enjoy your weekend!
Again a great article. I've always considered Spacer as just one of those Rodgers/Edwards spin offs, but was never aware of the story behind it. The French and their love for disco is quite something, till this day even. The only radio station I listen to for disco and funk is Génération Soul Disco Funk, based in France obviously. Thanks Pe, highly informative and entertaining.
You’re absolutely right—there’s something almost magical about the connection between France, the French, and disco 😃. They’ve contributed so much to Eurodisco and produced some outstanding remix work (think Dimitri From Paris for instance).
When I was handling catalog & compilations at Universal and Warner Belgium, I traveled to Paris three times a year and was always amazed by the way they curated and preserved the disco catalog. It was actually Warner France, not Warner or Rhino US, that released the Chic box set!
I’m not familiar with that radio station, but thanks for the tip! And thanks for reading and sharing your thoughts, Singleton. Wishing you a fantastic weekend!