What exactly was a "disco orchestra"? And where did the rhythm of disco come from ?

The Twelve Inch 124 : "The Bull" (The Mike Theodore Orchestra)

Welcome, I’m Pe Dupre and this is “The Twelve Inch”, a newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.

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Disco: My First Love and Everlasting Influence

I absolutely adore the song “Music” by John Miles. Who doesn’t? The lyrics, “Music was my first love.. and it will be my last,” resonate so deeply, capturing the essence of our lives. Though, if I could tweak it a bit to reflect my own journey, it would be: “Disco was my first love.. and it will be my last.”

Our first crush in life has a magical sticking power, doesn’t it? Those memories shape us, giving us a glimpse of who we are and what we cherish. Just like with relationships, after that first crush, we grow and evolve. For me, disco was the perfect springboard into the vibrant musical landscape of the eighties. Genres like post-punk, new-wave, synth-pop, and New Pop all borrowed from disco, crafting something fresh and exciting. It was a natural progression. Yet, no matter how much we evolve, we’ll never forget our first love.

The Unwavering Allure of Disco

I’ve often wondered why disco captivated me the way it did. What was its magical power? While my friends were immersed in rock, punk, and new-wave, disco was often dismissed as plastic and fake—not real “music.” When songs like “YMCA” or “D.I.S.C.O.” played on the radio, I couldn’t completely disagree. Yet, the love for disco persisted.

Even now, many years later, it remains a bit of a mystery. Through extensive reading, I’ve gained a deeper understanding of its origins and its rich, multi-layered nature. Sure, there was some junk, especially after the explosion of “Saturday Night Fever,” but let’s not forget that disco wasn’t the only genre plagued by this issue (Bubblegum pop, anyone?). Despite its flaws, the allure of disco never faded.

The Cultural and Musical Roots of Disco

Disco didn’t emerge in isolation; it was a natural evolution of the musical revolutions of the sixties, and its dramatic “end” in 1979 was just part of its journey. Disco didn’t die—it simply went underground, transforming and resurfacing under a new name: Dance. Without disco, the vibrant world of EDM and contemporary dance music genres wouldn’t exist. This fascinating narrative is one I’m unraveling piece by piece in this weekly newsletter, as you’re already aware.

Defending Disco: An Ode to Talented Musicians and Producers

I’ve always been an enthusiastic defender of disco. It was a vibrant playground for talented musicians, producers, remixers, and artists. Sure, it was often anonymous—many tracks were crafted by producers aiming to electrify dance floors rather than build long-lasting artist careers. Yet, this didn’t prevent them from creating timeless tracks that still ignite dance floors today. While some took shortcuts for quick cash, most poured their hearts into their work, truly believing in their craft and giving it their all.

Today marks the 25th episode of this newsletter, and what better way to celebrate than by revisiting my first love? Join me as I piece together the story of one such unsung hero: Mike Theodore and his electrifying track, “The Bull.”

The Soundtrack of Mid-Seventies Disco: Latin Rhythms and Philadelphia Influence

This week's accompanying mixtape showcases two strands of mid-seventies disco: Latin rhythms (like “The Bull”) and the Philadelphia sound. These elements, characterized by heavy orchestration and rhythm, define disco's recognizable sound. Let's delve into how these components shaped disco and created the twelve inch.

Latin Roots: The Heartbeat of Disco

Disco’s Latin roots trace back to the late 60s and early 70s when young Latinos in New York fused Latin ballroom steps with black soul music, creating the Latin hustle. This fusion attracted black dancers and New York's gay subculture, laying the foundation for disco. Latin rhythms, with instruments like timbals, congas, and bongos, became integral to disco’s success.

When Eddie Palmieri was interviewed for The NY Times in 1979 he said the following : “The intricacies of our rhythmical patterns are basic to what's most popular now, namely disco, and all the most successful disco numbers are superimposed with the Latin rhythm instruments — timbals, congas, bongos.”

The Latin influence in popular music during the seventies was so pervasive and seamlessly integrated that it often went unnoticed. It was almost a given. Disco, soul, jazz, and jazz-rock groups from that era rarely performed without incorporating Latin percussion instruments alongside the standard American drum kit. Most of these groups infused their music with Latin rhythm patterns, which played a crucial role in the evolution of the extended version or twelve-inch single. Simply put, without those infectious Latin rhythms, there would be no iconic disco breaks.

The Orchestra: A New Pop Complexity

Early seventies disco introduced a sophisticated pop complexity, blending jazz’s instrumental intricacies with classical orchestral grandeur. Philadelphia’s Gamble & Huff, with musicians like Vince Montana, Norman Harris, Ronnie Baker, and Earl Young, pioneered this sound. The disco beat, with its unique four-four bass pattern and intricate cymbal work, was born.

The Cost of Disco Production: A Symphony of Sound

It might come as a surprise, but producing disco was more expensive than other 70s genres. Disco often required large bands and orchestras, featuring multiple chordal instruments like guitars, keyboards, and synthesizers, alongside various drum and percussion setups, including drum kits, Latin percussion, and electronic drums. Add to that a horn section, a string orchestra, and an array of “classical” solo instruments like flutes and piccolos, and the costs started to add up. Arrangers were essential in blending these diverse sounds into a cohesive masterpiece. The Harris/Baker/Young/Montana combination epitomized the Philly Sound, but it was the arrangements of Thom Bell that truly completed the sonic tapestry.

The Rise of Disco Orchestras

The 70s disco boom saw the emergence of numerous disco orchestras, like Barry White’s Love Unlimited Orchestra, MFSB, John Davis & Monster Orchestra and The Salsoul Orchestra. These ensembles, although often studio-based, delivered a "big" sound with extensive musician involvement. Mike Theodore’s Orchestra, with over 50 musicians, exemplified this trend.

Mike Theodore: The Maestro Behind "The Bull"

Dennis Coffey (left) and Mike Theodore (right)

Mike Theodore, a prolific Detroit-based producer and arranger, frequently collaborated with fellow Detroit musician Dennis Coffey, best known for his iconic track “Scorpio.” Together, they formed one of the most productive production teams in Detroit during the late ’60s and ‘70s.

They produced numerous acts, mainly for the Sussex and Westbound labels. One of their standout successes was “Devil’s Gun” (1978, Westbound) by C.J. & Co, a disco classic that famously became the first track played on the opening night of Studio 54.

CJ & Co

In addition to their work with C.J. & Co, they also produced records for artists like King Errisson and the Tempest Trio. By the late ’70s, both Theodore and Coffey began exploring solo projects. Coffey released “A Sweet Taste of Sin” (1978, Westbound) with the Dennis Coffey Band, while Theodore launched two albums with The Mike Theodore Orchestra. The first, “Cosmic Wind” (1977, Westbound), featured the disco hit “The Bull,” followed by “High On Mad Mountain” in 1979.

The meticulous arrangements and musicianship of records from this era, particularly in disco, are truly astounding. Such intricate, orchestra-style productions are rare in today’s dance music landscape. While the rise of electronic disco and minimalistic productions from artists like Chic brought their own innovations, one can’t help but admire the extraordinary effort and attention to detail that defined the grand, orchestral disco productions of Mike Theodore and his contemporaries.

Post-Disco: Theodore's Continued Influence

Mike Theodore today

After disco, Mike Theodore continued as a producer and engineer, contributing to projects like Freeez’s "Gonna Get You" LP and Unlimited Touch. “The Bull” was mixed by Tom Moulton and (together with two other songs from the album) would just miss the n°1 of the Billboard disco top 100 in 1977. The Song would not cross into any other American or International chart until 2003 when it was sampled for the international dance smash “Shake It”(Move A Little Closer) by Lee-Cabrera.

Serendipitous Discoveries: From Disco to Rodriguez

Researching for this newsletter has a way of unearthing fascinating connections. In 1970, Mike Theodore and Dennis Coffey produced an album for an emerging talent named Sixto Rodriguez. They believed they had discovered a new superstar, but his career failed to take off in the US. However, Rodriguez found unexpected success in Australia and New Zealand, and unbeknownst to him, he became a sensation in South Africa. He remained unaware of his South African fame until 1997 when his daughter stumbled upon a website dedicated to him, revealing his immense popularity there.

Rodriguez’s songs, with their anti-establishment themes, became anthems for the anti-apartheid movement. South African fans knew little about his life and even believed a rumor that he had killed himself on stage in 1970. This incredible story led to the creation of the documentary “Searching for Sugar Man,” which follows two South African fans on their quest to find Rodriguez. The film’s soundtrack, featuring Rodriguez’s music, introduced me to one of my favorite songs of 2012: “Sugar Man.”

If you haven’t yet discovered Rodriguez, I urge you to dive into his work. I promise it will be one of the most rewarding musical discoveries you’ll make this year.

Disco : The Sensitive Subject

Disco remains a polarizing genre, eliciting strong, often black-and-white opinions with little middle ground. While listening to an interview with Mike Theodore, I noticed the first question addressed the impact of drum machines on disco production. Mike’s response was enlightening: he emphasized that he only worked with “real” drummers, noting that drum machines were introduced much later. This exchange highlights one of the many misconceptions about disco music. Despite its controversies, disco’s intricate artistry and enduring influence continue to captivate and spark debate.

Further reading (or should I say watching)

There are a number of interesting video’s/links :

1. I found a recent interview with Mike Theodore where he explained how they worked (poor sound quality)

2. A recent interview with Dennis Coffey

So You Wanna Hear More ?

I thought you would !

It’s fun to write about music but let’s be honest. Music is made to listen to.

Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.

So what’s in this week’s mix ?

This week’s mix takes you on a deep dive of the two disco characteristics I discussed. The first half hour is devoted to percussion heavy, latin influences disco tracks of 1977, kicking off with “The Bull” off course. The selection goes as close as possible to its salsa origins with The Fania All Stars (the house orchestra of NY most important Latin record label : Fania Records) among the featured artists.

The middle section consists of two tracks from 1977 that announced the more minimal disco productions of the later disco years: a track of the Chic debut album and Bionic Boogie, the studio collective that helped introduce talents like Luther Vandross & Jocelyn Brown.

The second half hour is pure Philly Sound with the O’Jays, MFSB, Teddy Pendergrass, Harold Melvin & First Choice

Enjoy !

Next week we dive into New Pop with the story of an artist that made “Absolute”tely one of the most polished records of 1984.