Saturday, 19 January 2013

Disco Patrician

Despite my love of theatre, my acting abilities are tantamount to the poorly feigned emotional responses that sociopaths and people with Asperger's syndrome learn from flashcards to help them cope through cocktail parties.  I'm also a horrible liar on account of my guilt-ridden Irish Catholic upbringing.  These encumbrances make for a horrible stage show.  So to spare everyone the awkward and embarrassing task of encouraging and enduring the unendurable that shouldn't be encourage, I joined my high school's lighting and tech crew instead.  

After our grade eleven production, the cast and crew dismantled the set, saved pieces as mementos, and in turn signed each other's two-by-fours the way one would sign a yearbook.  On my plank, our director inscribed, "what is unseen is often indespensable," a platitude he no doubt shared with everyone else on the stage crew.  

But as with many clichés, therein resides truth.  

What would jazz sound like without Rudy Van Gelder?  How less cool would the New York downtown scene have been without Arthur Russell?  Arguably, some music producers should never be seen.  Imagine how much happier we'd all be if Sean Combs and Kayne West had stayed in their soundproof booths. 

Patrick Adams is uncharacteristically humble and gracious for a producer-arranger who has credits on over 400 records, has earned 32 gold and platinum singles, and has twice won the ASCAP award for song writer of the year.

Along with the rex of remixes François Kevorkian, Adams is responsible for much of Prelude Records' best disco, as well as for revered boogie cuts supplied to several other home-grown dance label in the late 70s.  His own label P&P Records received two indispensable treatments last year, the compilations Patrick Adams' Best of P&P Records and the limited edition - on hot pink vinyl - Dj Spinna Vs. P&P Records.

In the 80s when the people traded their bell bottoms and platform shoes for rope chains and poly-chromatic leather jackets, Adams adapted and began engineering hip hop records.  Erik B and Rakim can thank Adams for getting paid in full.

If you would like to call Adams up to say thank you, his number is on his website.


Universal Robot Band - "Dance and Shake Your Funky Tambourine," Red Greg Records, 1976

Discogs: Dance and Shake Your Funky Tambourine

Paper Dolls - "Get Down Boy," Heavenly Star Records, 1976

Discogs: Get Down Boy

Marta Acuna - "Dance, Dance, Dance (Disco Version)," P&P Records, 1977

Discogs: Dance, Dance, Dance

Musique - "Keep On Jumpin' (Disco Version)," Prelude, 1978

Discogs: In the Bush/Keep on Jumpin

Phreek - "Weekend," Atlantic/P&P Records, 1978

Discogs: Weekend/Have a Good Day

Cloud One - "Patty Duke," Sound of New York, 1979

Discogs: Patty Duke

Cloud One - "Flying High," Heavenly Star Records, Release Date Unknown

Discogs: Flying High

No comments:

Post a Comment