![]() ![]() ![]() ![]() It could be Gwen McCrae, it could be Benny Latimore, it could be Timmy Thomas. There would be Willie Clarke or Clarence Reid as writers, or there would be whoever else had an idea. yeah, who knows who the tunes went for? Because no one ever said. Songfacts: Did you guys ever record anybody we've heard of?įinch: Let's see, Betty Wright, George McCrae, Bobby Caldwell. The way business worked back then, if you had a handful of artists and everybody sold just a little bit, it was the same thing as making a hit record, because it all adds up. Henry was just trying to make some local chart action happen. There were a lot of R&B records coming out, like Benny Latimore and Betty Wright. There was this 8-track studio upstairs on 1-inch tape, and people would go back there and just start recording away, and then whenever something was worthy of coming out, Henry would have it pressed, because there were local pressing plants all over south Florida back then. So, it was like, Wow, wouldn't it be a great idea to mix this information center from the front part of the building, and then in the back of the building there was this little funky R&B recording studio where people would go back there and record. ![]() You know, when you're young you're really clairvoyant and you can see all kinds of stuff. You couldn't buy it directly from the record company, you had to get it from the distributor.Īs a kid I was paying attention to everything. Sometimes records from manufacturers would come in from Louisiana, Memphis, or Nashville, go to his distributor, then go back up the United States. Whenever there was a buzz in the record industry, Henry would know about it, because his distributor was very, very hot, and he used to service all of the record stores around the southeast region of the United States. They would handle all the labels, and they definitely captured what was going on at any given moment. It was actually called Tone Distributors, which was a huge block-long warehouse and a very powerful one-stop independent record distributor. Rick Finch: Well, it wasn't called TK Records until we had a #1 record with George McCrae (" Rock Your Baby"). Ho writes for The Atlanta Journal Constitution.Carl Wiser (Songfacts): Tell me about TK Records. Where: Segerstrom Hall, 600 Town Center Drive, Costa Mesa I wish we had done more shows.” KC and the Sunshine Band “I thought it was a perfect package,” he said. “When I went back, I’d start 5 or 10 minutes earlier or just talk less,” he said.Ĭasey also had a blast last year co-headlining with the B-52s for gigs on its long-running farewell tour. curfew and the sound was cut off in the middle of “Get Down Tonight.” “There is this whole acceptance of this music,” he said.īut sometimes, he said, people mix his music up with that of Kool & the Gang, who he has occasionally co-billed tours.ĭuring a stop in June 1999 at Chastain Park where Kool & the Gang performed first, Casey missed the venue’s strict 11 p.m. While there are still some in the population who remain staunchly anti-disco, tens of millions now openly embrace the songs of Gloria Gaynor and Chic. So for the past three decades, he has given his fans what they want. “Then Arsenio Hall called for a reunion and the bells rang in my head: ‘You know what you love to do. “I noticed people kind of missed me,” he said. Where to go, when to go.”ĭuring his break from performing, he said all he did was “get high and party a lot.” But later in the decade, he gradually began touring again, first with tracks in dance clubs with his backup singers. “I got tired of the political (expletive) in the industry. And he noted that even if disco was “dead” by 1981, there was no shortage of dance music in the MTV era by the likes of Madonna and British New Wave acts like New Order and Depeche Mode.Īnd KC and the Sunshine Band did manage one more hit in 1982 with “Give It Up” before Casey himself decided to literally give it up in 1984. While Casey did end up riding the disco wave to massive success, he actually said he was a little peeved that his music was being pigeonholed to a degree by the “disco” appellation at the time. I don’t know if my vocals at the time would have worked. “It didn’t really fit with what I was doing with KC and the Sunshine Band,” he said. Casey co-wrote it and played keyboards.Īt the time, Lowrey organs had primitive drum beat sounds so he and bandmate Richard Finch used a samba beat for what would become “Rock Your Baby” and Casey started playing chords to that track. 1 hit “Rock Your Baby” sung by George McRae. (Courtesy of Segerstrom Center for the Arts)Ĭasey’s disco roots literally go back to what is often considered the first intentional disco No. ![]()
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