The Groove That Shaped Disco: Earl Young, The Trammps, and the Philly Sound Revolution

The Twelve Inch 132 : "Love Epidemic" (The Trammps)

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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I have to start this week’s episode with an admission 🤓

Last week, I teased an "all-time classic disco song"—and I truly believed it was. I was talking about "Love Epidemic" by The Trammps, a track that was a major hit in the Benelux, reaching the Top 10 in the spring of 1974. Imagine my surprise when I discovered that this track barely scratched the surface in the U.S., peaking only at #75 on the R&B charts!

It’s funny how research can surprise even the most seasoned enthusiasts 😁. I double-checked the facts, hoping I missed something, but it’s true: "Love Epidemic" wasn’t a U.S. hit. Yet, for me, it’s one of The Trammps' finest. More importantly, this song is the perfect gateway into this week’s broader story: What exactly was the “Sound of Philadelphia,” and why would disco not exist without the incredible drummer (and one of musical heroes), Earl Young ?

The Birth of Disco: The Evolution from Funk, Soul, and Latin Rhythms

As I mentioned in Episode 124 about The Mike Theodore Orchestra, disco didn’t emerge in isolation. It was the next step in a musical evolution that began in the late '60s and early '70s, shaped by funk, soul, and Latin rhythms. Episode 129 highlighted James Brown and funk's crucial role in the birth of disco, but that’s only part of the story. There were also societal factors that set the stage for this new sound.

America in the early '70s was reeling from the Watergate scandal, the end of the Vietnam War, and an economic depression fueled by the oil crisis and conflicts in the Middle East. People were seeking a release—an escape from the pressures of daily life. They needed a new kind of soundtrack, one that reflected the desire to dance, forget, and connect. The top 40 music wasn’t quite suited for this.

At the same time, various communities were finding their voices. The LGBTQ+ community, emboldened by events like the Stonewall Riots of 1969, began to carve out their place in nightlife, becoming a key audience for dance music. It was also an era when single women felt more empowered to go out dancing without the social stigma they might have faced before. The dancefloor became a sanctuary—a place where soul, not male-dominated rock, reigned supreme.

Philadelphia International Records: A Soundtrack for Social Change

Enter Kenny Gamble and Leon Huff, founders of Philadelphia International Records (PIR). They were among the first to capture this moment in their music, blending rhythm and blues with funk, pop, and jazz to create lush, orchestral tracks. The Philly Sound wasn’t just about making people dance; it addressed serious social issues like inner-city healthcare, illiteracy, and political corruption. The songs captured the post-Watergate feeling of optimism about the possibility of social change. Gamble and Huff made sure each PIR album carried a message—at least three or four songs per album carried “social messages”

Much like Motown, PIR had a powerhouse studio band behind its success: M.F.S.B. The backbone of this group consisted of bassist Ronnie Baker, guitarist Norman Harris, and drummer Earl Young. Nearly all of the classic Philly Sound records were created with at least one member of this trio involved.

However, the success of PIR didn’t last forever. Financial disputes led many of its key members to leave, migrating to labels like Salsoul Records, where they formed The Salsoul Orchestra. Other members began performing as the Ritchie Family orchestra, and John Davis and the Monster Orchestra. This movement helped cement the Philly Sound as a major influence on early disco, extending its reach beyond Philadelphia.

Earl Young: The Drummer Who Invented Disco’s Signature Beat

Earl Young is 83 years old and still plays drums

Earl Young was not just any drummer—he was a game-changer. Known for his “four-on-the-floor” beat and mastery of hi-hats, he’s the inventor of the “disco style” of drumming. Young had what musicians call “infallible rhythm.” He developed his drumming style with a clear purpose in mind: “If you notice, everything that I cut is at 120 speed (Beats per minute)” Young says. “I made it that way so that the disc jockeys could mix my music into anything that they’re playing.

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The Genius of Earl Young & the “disco style” of drumming

The quality of this video is not great but the content is amazing. Earl Young explains in a few minutes what his revolutionary beat structure was/is about and what the difference is/was with the Motown powerhouse. Just listening to him saying : “I don’t have a drum machine, I was the drum machine back then” sums it all up !

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“The Love I Lost” the first disco record

In 1973, while recording "The Love I Lost" by Harold Melvin & The Blue Notes, Young made history. Originally conceived as a ballad, the song wasn’t working in the studio. Earl recalls : “The Bluenotes were not a disco group, they did mostly ballads. I said ‘Look man, let’s pick this up because I like to dance.’”. They sped it up, and his drumbeat—featuring the now-iconic four-on-the-floor—helped transform it into a hit. This track is widely considered one of the very first disco records, paving the way for disco as we know it.

But Earl Young’s talents didn’t stop at drumming. He also had a remarkable baritone voice. In the early ’70s, he formed The Trammps with Jimmy Ellis and brothers Stanley and Harold Wade. They scored their first hit with "Zing! Went the Strings of My Heart" in 1972, and by the mid-’70s, The Trammps were a fixture on both the charts and dancefloors. “Love Epidemic” was the third single of their debut album and, as I said in the intro, strangely enough, only a big hit in the Benelux. The song was released before the twelve inch format was introduced. Tom Moulton remixed the song much later.

Jimmy Elis is second row on the right. Earl Young : first row on the right

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Fun Fact : How did they find the group name ?

Earl Young : So when they, when I. I made a deal with Buddha and I needed a name, so I said I wanted to give me a name that's so ridiculous that people will always remember this name. So I was sitting down and came up with with a name like Bummy and the bums, the Hobo’s. Eventually he came up with “The Trammps”. The second “m” in Trammps was added because there was already a band, called “Supertramp” when they began. Adding a second m avoided confusion (as if that would have been a problem 😃)

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The Benelux Love Affair: Why “Love Epidemic” Hit Big in Belgium and the Netherlands ?

Now here’s a very difficult question to answer. Why did “Love Epidemic” make it into the top 10 in the Benelux and not elsewhere ? Is it just because of our renowned good taste ? 😁 Did we have a sharp eye for the up & coming talent ? Perhaps it was just one of those “happy accidents” born from a unique radio landscape in the early '70s.

At that time, commercial radio was still restricted in the Benelux. In the Netherlands, broadcasting was tightly regulated, split into ideological groups. Similarly, Belgium had two public broadcasters—one for the Flemish north, the other for the French-speaking south. The focus of radio was on “informing” and “educating,” not necessarily entertaining.

But while land-based radio was limited, offshore stations operated freely. Broadcasting from ships in international waters, these pirate stations became incredibly popular, playing the Top 40 alongside more liberal programming. One such station, Radio Noordzee, had a widely followed soul music show on Sunday afternoons. This is where "Love Epidemic"probably first gained traction.

In Belgium, the situation was even more restrictive, and many Belgians tuned in to the Dutch pirate stations. The radio landscape in the Benelux played a crucial role in making "Love Epidemic" a regional hit, highlighting how geographical quirks and media restrictions can shape a song's trajectory.

Conclusion: Earl Young’s Lasting Legacy on Disco and Beyond

Earl Young’s drumming innovations and the broader Philly Sound didn’t just create hits—they laid the foundation for what would become disco. From Harold Melvin & The Blue Notes to The Trammps and beyond, Young’s rhythmic genius was instrumental in shaping the music that made people move for decades.

What Are Your Memories of "Love Epidemic"?

The story of "Love Epidemic" is the story of the start of disco. A vibrant time with room for experimentation & positivity. The lyrics of the song are as powerful today as they were in 1974, maybe even more. So, what about you? Do you remember the first time you heard “Love Epidemic”? What’s your favorite Philly Sound Song ? Let me know in the comments.

Further reading (or should I say watching)

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

1. The official video (or what could’ve been the “official video” at that time, with a very enthusiastic Earl Young (third from left))

2. Recent interview with Earl Young

3. If you want to know how to dance to this Trammps gem: some inspiration from the Soul Train dancers

4. Earl Young drum lessons

5. Another interview

6. The Trammps are still touring (be it in a different set-up off course 😁). If you want to find out where you can go and see them.

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.

The MIXCLOUD Mix Of The Week

So what’s in this week’s mix ?

Every week’s mix is a joy to create, but this one was especially exciting for me. I have a deep love for the orchestral Philly era of disco, so putting together this setlist felt like a kid in a candy store. This week’s mix features some stellar examples of the Baker-Harris-Young collaboration, including Blue Magic’s “Let Me Be The One” and, of course, the iconic “I Love Music” by The O’Jays.

In the latter half, I’ve included fantastic tracks from the Salsoul era, led by Vince Montana, such as “Salsoul Hustle” by the Salsoul Orchestra, “You Know How Good It Is” (and believe me, I do) by Vince Montana himself, and one of his brilliant arrangements for 70s sensation, Charo. And if you thought the Philly Sound was limited to American disco, think again. Even Giorgio Moroder was inspired by it. Before his groundbreaking electronic work like “I Feel Love,” he produced Donna Summer’s version of Barry Manilow’s classic “Could It Be Magic.”

But more than anything, this mix is a deep dive into the lush, orchestral brilliance of the Philly Sound—a sound that many others would go on to emulate. So hop into my time capsule and join me on a journey back to the days of disco, before Saturday Night Fever hit the scene!

Enjoy !

Next week, it’s time to pull out the lace, basque waists, luxurious fabrics, statement collars, lavish embellishments, and oversized outfits from your wardrobe. We’re heading to early ‘80s England, where it's all about striking a pose in style!