Options Items per page. Cmd D Special Selection Greatest Oldiez Vol 1. Hardcore Blasters Italy. HMG 01 19 Oct 11 Gabba. AUX 30 Dec 13 Breakbeat. Techno Masters. BFR 03 Jul 17 Techno. Locale Disco Tape Vol 3. Random - "Rondo'm, Pt. DJ MacHo. Carni Bastarde. MOK 07 Apr 16 Gabba. Professional ruptures would become a familiar pattern in the career of Jacques Fred Petrus.
When the megalomaniac conduct of Fred Petrus began undermining the Goody Music company in , Franco Donato decided to quit. Felix, Electric Mind, Jago, …. Earlier in he had already sold the lucrative Goody Music record store in Rome to the Donato brothers.
Paolo Gianolio. Davide Romani bass and Amos Amaranti guitar during Macho-gig in Billboard Magazine August He definitely had an input into the musical direction and the overall vibe.
His deejay experience connected him with the pulse of the disco scene. Davide Romani. Produced for Goody Music Production without involvement of in-house musicians: S LOVE. Jacques Fred Petrus , the bright Guadeloupe-born, Italy-based entrepreneur, was the archetype of the successful and recklessly ambitious record producer.
And he definitely was a man with style too, who enjoyed cruising the streets of NYC with his expensive BMW i and who loved wearing classy Italian clothing. He was leaving and I was just coming in to start a session with Brass Construction. I remember him being very well-dressed on that occasion. He came across as a very meticulous man, meaning that in a good way. He wore a silk scarf. His cologne was top-shelf as well.
When he wasn't in the recording studio, producer Fred Petrus concentrated on the business aspects of the company such as masterminding and financing the numerous discoprojects and shopping around for gainful record deals. He has been described as a generous individual with a propensity to be ruthless to those who crossed him. If you didn't know him, he could be very intimidating at first meeting. Don't be fooled by his piously sounding name. He was no saint! It was always cristal clear that Jacques Fred Petrus himself was responsible for the success of Little Macho Music and no one else.
Band, I am High Fashion! Remember that! What would emerge with the ongoing success of Little Macho Music was the abrasive manner with which Petrus conducted business.
It's a fairly unanimously agreed fact that Jacques Petrus treated people like dirt. From borrowing money, to firing people on the spot or ignoring them completely, Petrus ruled with erratic discipline — treating musicians and professionals who were integral to his company as if they were nobodies.
When asked about the producer's death, he said: "I know that it was something waiting to happen. Because you can't be that evil, to that many people, and not have your karma affected. Earl The Pearl had an office next door, heard the commotion and begged me not to kill him. I got paid though. Petrus wrote a check right then and there! I learned some lessons that summer! I had been dealing with him for at least two years prior on those Peter Jacques Band and Macho records…me and the guys from Platinum Hook So that's what I take away from the experience Band "On The Beat"!
He was a thief, a crook, whatever For the past 35 years I have been trying to recuperate royalties for all the songs that I wrote for him and since my visit to Italy I found out that Romani and Malavasi and their Italian publisher all have the same headache!
So we teamed up together to take legal action. He had absolutely no respect and considered that once an artist had worked for him, all the songrights were his! And so he did whatever he wanted with all the works and snitched all the royalties.
His Italian contracts didn't stand up. He was very clever at playing that sort of tricks! That is without any doubt why he was shot. By Petrus' realm started crumbling off due to an economical malaise within his company and shifting trends in the music industry. He had become quite a controversial if not corrupt business figure. He had a terrible reputation for not paying on time or just not paying at all!
Drummer Bernard Davis reacted as follows: "After Fred Petrus pissed off Yogi Horton one of the hottest and most versatile studio drummers at the time , who had played on albums by B. Then after that Petrus pissed me off as well and I stopped doing recordings It was only when he screwed over my friends and then myself that I felt he was an abuser and a bad per son.
We were young and he used all of us until we walked away. He offered to settle for a third what he owed me! Loved Yogi Despised Petrus What a set of conflicting emotions. How he died is unimportant, why he died is important My career got off the ground because of my work with Change, so I'm certainly grateful to him for that break.
Bogen : " Seems to me a correct assessment At the end he owed out a lot of money. People began showing up at the Little Macho Music office demanding money and threatening. If he didn't have an immediate need for someone at the time At one point I had to take him to court to be paid for work I did for him and then he decided he didn't want to pay me. I worked on 4 albums for him, B.
Band , Change , Silence and High Fashion At the time the only reason I took him to court is because he said "sue me" I won because he never showed up to the court date see photo below. By I had been in the biz for 13 years and he was the first of his kind that I met.
His attitude was basically: I have your performance and now go to hell! He thought that everyone was disposable and his crap would never catch up with him But as you and I know "what goes around comes around" and it did for him. Because I lived in the same building with Freddie I did get to see a softer and kinder side to him I am a true believer in Karma and Cause and Effect Too bad he didn't realize that.
But at the end of the day his legacy lives on because he met the right people and put them together Civil Court claim: Robin Clark vs. Petrus had signed very lucrative contracts with many major record labels and this had made him a very rich man. He was a typical record executive from the Disco period.
A tough guy. People respected him, but many actually feared him. He owned many things that the opulent love, including a jetset night club. But all this wealth made him lose the contact with reality, and in a short time his manias of greatness had a serious financial impact on Little Macho Music.
The hits slowed down but Petrus' boundless ambition didn't — as revealed the Little Macho Music productional overflow of ! He was only thinking about accumulating money for himself, criminally neglecting the merit of his loyal musicians in the process. This abuse began running parallel to a slide further and further into debt. Needless to say that the outcome was a crisis of confidence and a creative deadlock causing the desintegration of Little Macho's original Italian production unit.
In Petrus' association with his Italian partners was over. The other Italian co-workers Malavasi, Romani and Trevisi who also got tired of their relationship with Petrus and the economic turmoil, left Little Macho Music as soon as the running projects were rounded off in early Jacques Fred Petrus carried on alone with variable success until But for his ex-companion Malavasi this was just the end of the first chapter of an impressive musical career.
Jacques Fred Petrus, passport photo Mauro Malavasi photo was born in Mirandola, near Modena, in Already at the age of six he attended the music school of Mirandola and joined the local drum band where he played the tambourine.
At the age of sixteen he was already a graduated trumpet player who performed at La Scala in Milan and at the annual arts festival Maggio Musicale in Florence. After high school he decided to become a professional musician.
Among his music professors were Giorgio Gaslini and Maestro Ballotta. With a bunch of friends Malavasi used to play in a jazz orchestra. Bologna has always been very active in the field of jazz music and annually welcomes the important Bologna Jazz Festival since Mauro Malavasi was one of the musicians on the jazz album Now by clarinettist Henghel Gualdi, released in His idols were the hard bop jazz musicians Clifford Brown and Bud Powell.
Malavasi also loved the music of Miles Davis. In he married Elisabetta Paselli, a piano teacher whom he met at the music conservatory when she was Today she runs Clock Music S.
Their publishing company and recording studio is situated on the Piazza Della Mercanzia in Bologna. The music Petrus and Malavasi initially fabricated was based on the kind of disco that was in vogue at that time: energetic, percussive Eurodisco typified by an explicit synthsound, pulsating rhythms, funky elements and insanely catchy melodies.
The sound they created was a synthetic fusion of European and American styles. An idiosyncratic attempt to hybridise the glamour of USA production with emerging electronic pop.
Whether they knew it or not, the duo were creating Italo-Disco avant la lettre. They turned Eurodisco into an art form. Eurodisco had established itself as a force to be reckoned with. Built around a thudding four-four beat, futuristic synthesizers, and a penchant for grandiose conceptual themes, the genre had its own aesthetic, and it also looked like it sold more records than any other strand of disco.
The album front cover emanated pure machismo, black leather being the gay dress code in those days. The sweaty torso on the back sustained the homoerotic appeal, ensuring large exposure on the gay disco scene. Bolognese singer and bandleader Marzio Vincenzi - who eventually became the singer of Macho - suggested this idea and disco retailer Petrus embraced it.
He instructed Mauro Malavasi to recreate an atmosphere which had to be similar to that of Kongas ' Africanism album produced by Cerrone in The mood of the song was definitely reminiscent of Konga's song "Gimme Some Lovin'" which also happened to be a song of the Spencer Davis Group! Malavasi wrote all the arrangements and searched for every single sound that gave it a truly international appeal. The use of powerful guitar, propulsive keyboards and punchy brass figures added to the strenghth of the cut's driving Cerrone-like percussion break.
Really the most impressive aspect was the music itself. It went through many changes and interludes much like Giorgio Moroder's epic disco numbers for Donna Summer, it always ended up winding back to something familiar making it seem really well assembled. It was based in the electronic disco with a minor in funk style. This iconic disco song, fleshed out with masculine chant, perfectly captured the exuberance of the late seventies. Malavasi was lucky because he could cooperate with very young and skilled session musicians living in Emilia-Romagna such as bass player Davide Romani , guitarist Paolo Gianolio , keyboardist Luca Orioli , drummer Gabriele 'Lele' Melotti , saxophonist Rudy Trevisi , percussionist George Aghedo and trombonists Sandro Comini and Marco Pellacani.
Romani's aggressive bass playing was an essential contribution, creating one of the characteristics of the powerful title track that rocketed the LP to the top of the disco charts. The featured lead vocalist was Marzio Vincenzi see photo , a friend of Malavasi who used to be a ballroom singer on the Italian Riviera Rimini where lots of discotheques were located. Together they had formed the band Marsius, named after Marzio, and released their one and only disco influenced album Save The Tiger in , without any notable success.
According to sources, Marzio Vincenzi died in Once the job was finished in Italy, Petrus flew to the U. Arthur Simms was a credit ed background singer. He carried out an interminable mix of the ferociously pounding single "I'm A Man" lasting 17 minutes and 45 seconds and taking up the entire A-side of the record! These songs were unquestionably inferior to the title track, but still had a cool breakdown and they absolutely fit in the album. The songwriter Alan Taylor, who would collaborate on most early Petrus projects, provided the lyrics.
The rights of the Macho record were bought by the disco label Prelude and instantly the record entered the American disco charts. Just three weeks after its release Macho had reached the sixth position on the U. Savarese allegedly mixed the three tunes on the album under an agreement with producer Jacques Fred Petrus.
Prelude subsequently picked up U. In seeking to enjoin Prelude and Schlachter from selling, distributing "or otherwise exploiting" the record, Savarese and his manager, Marilyn Green-Fisher, argued that defendants failed to live up to an agreement to credit Savarese with the words "Mix by Savarese" on the album cover and the disk label of the product in contention. Tom Savarese claimed that the omission of his credits was willful and deliberate and had caused him "irreparable harm".
Peter Jacques Band Jacques Fred Petrus was aware that the collaboration with Mauro Malavasi was turning out to be winning and he immediately decided to undertake a second studio project: the Peter Jacques Band.
The name was a clear "play" on Jacques Fred Petrus' name. Leroy Burgess , a member of the Black Ivory group, was engaged as a studio lead vocalist. The act was a "band" in name only as all the music was handled by studio musicians with several different line-ups contracted for touring. Petrus found most of these artists in the entertainment and fashion world of Rome and Paris. They were often Americans living in Europe.
She was elected Miss Guadeloupe in and worked as a model and television actress in Paris. Later she became one of the three founding members of the successful group Zouk Machine. Again the Prelude label obtained the publishing rights for the U. If you own this version you have a rare issue which has become quite valuable.
In Europe the record was released on the Ariola and the Goody Music labels. The original album artwork of Fire Night Dance portrayed the ultimate disco angel fantasia. The "sexy Disco butterfly"-cover was banned in the U. Prelude Records replaced the frivolous European cover with a flashy photo of fancy nightclubbers, cavorting behind shattered glass.
When disco hits! Fire Night Dance should have become an across the board classic. Italian disco, packaged for an American audience with a Village People-styled cover but still pretty great in the end. Despite its Italian origins, the use of lots of horns and conga rhythms took this away from the cookie cutter Eurodisco mold and gave it character.
The mix was smoother than most, and there was a tendency toward soul throughout. Revanche is a French word that means revenge in English. French seemed quite hip during the hey-days of disco. Disco act Chic introduced French albumtitles and songtitles. It gave the music an air of sophisticated elegance, something Petrus must have liked when he picked this name for a new concept. Besides, Petrus originated from French overseas territory himself.
The song "Revanche" recalled Macho's style. Thanks to his long-time involvement with disco music as a specialised retailer and a seasoned DJ, he exactly knew what the dance audience was looking for and he made it. Paolo Gianolio , Luca Orioli see photo below right and especially Rudy Trevisi arranged and conducted the music.
While Malavasi concentrated on the main productions, Petrus tried to exploit at the most the talent of the other musicians around him, inventing new concepts like Gianni Riso , Midnight Gang or Rudy. A dominating brass section was backed with perky guitar and a hard handclapping backbeat on this rock flavoured LP. Even if the record wasn't bad, it didn't stand out in the steady stream of disco releases and couldn't compete with the success of some of the bigger productions of the Goody Music stable.
The arrangements and the songs were modeled in the tradition of the Goody Music sound of Peter Jacques Band, but less effective and refined. This record was distributed in Italy and even in Venezuela, without great sales. Candelario Sanchez composed and arranged the 6 tracks including "Russia" and "Stay Tonight". The compositions have the last touch of Euro-disco from this period.
It was a time where arrangements with actual players was becoming a bit extinct in Disco music. This may have been due to the popularity dwelling down and the funds for recording were limited to musicians and left many keyboards as the last option. But this Paris-based project didn't hit either. Petrus, sure of his international success, was trying to put all the young Italian talents together.
In the new hybrid music style 'Rosco', a mix of rock and disco, was in fashion for a short while and the 2nd Macho album aimed for that specific market. The songs, which differed from the usual slick and polished disco of Goody Music Production, weaved an agressive hard-edged rock sound with synths and dance beats.
Roll had little success and this was also due to the failure of Rosco music. Malavasi's somewhat futuristic and ultra-melodic disco clearly had similarities with the music of the disco producers Gino Soccio, Cerrone and Giorgio Moroder who all favoured stacks of synthesizers. The accessible Hi-NRG dance music easily reached the international disco crowd. In fact it was tailor-made for the booming discotheques with their almost extraterrestrial atmosphere: flashing dancefloors, glittering mirror balls, colourful light sequencers and hypnotising laserbeams.
Freddie Petrus was thrilled with his initial success and expressed it this way in an interview: "Our first two products Macho and Peter Jacques Band rose immediately to the top of the Billboard Disco charts. Macho was an unbelievable phenomenon. Just three weeks after release, the record reached the sixth position, while for example Donna Summer only hit 1 after six weeks!
The skeptical American record distributors were shocked to see two hot disco records in the charts that were produced by Italians! Peter Jacques Band proved that Macho wasn't a lucky break but the result of a precise and serious musical policy.
Eurodisco however, remained a critically ignored and disrespected musical tradition that was rather associated with kitschness than soundness. Only the single "Counting On Love One, Two, Three " reminded of the frantic sequencer-driven disco beat of the earlier productions. The groupmembers all shared common interests in acting and dancing and all worked as fashion models in Europe.
Chicago native Jacob Wheeler was the catalyst who put the act together for Fred Petrus while working in the fashion and entertainment industry of Paris and Rome. The record occasionally featured vocals by Luther Vandross who also wrote some of the lyrics. While Petrus' simultaneous album with Change went straight to the top of the Billboard Dance Chart, Welcome Back went quite unnoticed and even failed to gain a release in the U.
Peter Jacques Band songs and samples appear on:. Change touring band line-up All the pieces fit! It was infectious joyous dance music of the highest quality leading people to the dancefloor. Italo-Funk sounds very much like American Disco music.
However, Italian tracks were easily identifiable by their catchy melodies. Emphasis on melody was a conscious choice made by Petrus and Malavasi, and became the most significant trait of the Italian sound.
In Fred Petrus made an interesting point explaining his philosophy: "The X-factor in Italian music is having too much melody. Today you require more than just a disco rhythm to be successful.
The market has been in a continuous development and an incredible amount of records have been released. Just mind that Billboard has stretched the disco charts with 20 positions because the disco output is too numerous.
There's a need for differentiation. Now the people want nice songs with great melodies as well, catchy tunes they can whistle in the shower. Words and melodies that get stuck in the head! For the promotional push of his records Petrus was in constant touch with the French music scene and Gerard Gely was among his closest friends.
Every time a Goody Music record was released he would ask the record company involved to entrust Gely with the disco promotion.
Because he knew his organization would do a good job. As Petrus was anyway in constant contact with him, he got a continuous feedback on any promotion move and on consumer reaction and disc jockey acceptance. Centerfold promo poster published in Billboard Magazine , incl. Funk band 'Der Kinky Foxx' incl. Timmy Allen, Johnny Kemp Jr. In dance music was in a state of upheaval. Disco was experiencing a serious backlash. Everyone from Blondie to The Rolling Stones had made a disco record.
These puerile attempts at dance music not only appalled popular music purists, but they also made the ultrahip dance community feel invaded by mainstream attempts to capitalize on their sound. Mainstay disco artists were abandoning the genre. Clubland was searching for a new musical tempo. They wanted a sound they could call their own again.
And the answer came in Change , a group who seamlessly picked up the disco mirror ball where Chic dropped it - right in the middle of the neon-lit dancefloor. Records, featured the distinguished vocals of a pre-stardom Luther Vandross see photo and Jocelyn Shaw , a.
Jocelyn Brown see photo. And of course the Italians were aware that Luther was a credited singer on the Chic albums. Luther Vandross recalled: "The Italians heard me in the context of being a commercial jingle and background singer and said, 'Oh, can we get you to sing lead vocal on a song? So to take me out of that, you had to be talking some mighty, mighty stuff! I told them if I didn't like my performance, I was to be able to stand there and erase it myself.
And Fred and Mauro said fine. And I said also that my name is printed as lead vocalist. Well radio, particularly black radio, took to Change and started calling my name Gosh, does this guy need to make an album! I knew it was a wrap! That happened a lot but I still loved the brother. This time, after the recording sessions in Italy and New York were completed, Fred Petrus assembled a touring band of American musicians, proving that the talent of Change didn't end in the studio.
Fronting the band were two experienced vocalists whose backgrounds read like entries of a musical Who's Who : James 'Crab' Robinson and Diva Gray see photo below. Male leads were handled by James 'Crab' Robinson. James 'Crab' Robinson was a reputed singer in the NYC session scene with a distinctive church-testifying tenor, suitable for the Change concept.
Band release. James' history in music dates back to a stint as roadie with Norman Connors. One night when the male vocalist travelling with Norman failed to show up, James took his place - with no rehearsal! From then on, he stayed with Norman for a couple of years and appeared on his This Is Your Life album Robinson is also the featured male vocalist on Jagg's single "Take Time", released on Delirium Records in Apollonia Jeremy Irvine Young Sam Panos Mouzourakis Lazaros Maria Vacratsis Sofia Naoko Mori Yumiko Togo Igawa Tatyama Colin Firth Harry Anastasia Hille Alma Cher Ruby Sheridan Jonathan Goldsmith Brother Cienfuegos Meryl Streep Donna Sharif Afifi Ensemble Performer Kathryn Akin Ensemble Performer Joe Allen Ensemble Performer Michael Anthony Ensemble Performer Wendy Baldock Ensemble Performer Caroline Bateson Ensemble Performer Omari Bernard Ensemble Performer Christopher Blades Ensemble Performer Hannah Bodenham Ensemble Performer Nicole Bondzie Ensemble Performer Teneisha Bonner Ensemble Performer Lauren Bott Ensemble Performer Daniella Bowen Ensemble Performer William Bozier Ensemble Performer Jacqueline Braun Ensemble Performer Ava Brennan Ensemble Performer Myles Brown Ensemble Performer Charlie Bruce Ensemble Performer Dawn Buckland Ensemble Performer Ashley Campbell Ensemble Performer Natalia Campbell Ensemble Performer Vanessa Campbell Ensemble Performer Clive Carter Ensemble Performer Harry Carter Ensemble Performer Chrissie Cartwright Ensemble Performer Peter Challis Ensemble Performer Frances Maassen Chiapetta Ensemble Performer Javier Cid Ensemble Performer Cassie Clare Ensemble Performer Tom Clark Ensemble Performer Ray Clarke Ensemble Performer Dominic Clarson Ensemble Performer Emma Clayton Ensemble Performer Nicola Coates Ensemble Performer Elliot Collins Ensemble Performer Leon Cooke Ensemble Performer Sarah Cortez Ensemble Performer Joe Da Costa Ensemble Performer Alie Coste Ensemble Performer Robbie Culley Ensemble Performer Charles Daish Ensemble Performer Jo Darby Ensemble Performer Natalie Davis Ensemble Performer Imelda de los Reyes Ensemble Performer Emma Deigman Ensemble Performer Reece Darlington Delaire Ensemble Performer Jeannine Desmier Ensemble Performer Nathalie Desmier Ensemble Performer Maria Despina Ensemble Performer Kieran Donovan Ensemble Performer Sonia Dorado Ensemble Performer Matthew James Duff Ensemble Performer Nathaniel Ellul Ensemble Performer James Alan-Evans Ensemble Performer Claire Fishenden Ensemble Performer Nia Fisher Ensemble Performer Jane Fowler Ensemble Performer Tommy Franzen Ensemble Performer Rory Furey-King Harry Bright: Your song?
Sam Carmichael: Okay. Sophie: I want the perfect wedding, and I want my father to give me away. Ali: Better be a wide aisle! Donna: What do you mean? Tanya: Are you getting any? Donna: Oh, you mean Down, boy! No, it takes too much energy.
Rosie: Yeah, just more plumbing to be maintained, isn't it? Donna: Ohh, look at my baby, her whole life ahead of her! Rosie: [talking about Sophie] She's a chip off the old block! Tanya: Or married at all! Tanya: [looks in the basket that a local woman is holding] Waaaaaahhh! Tanya: Fishing? Oh, please! Rosie: What do you suggest we do with three men?
Sophie: No, I thought you would Sophie: No, no! Sophie: You don't know if you love me. I just wish you'd told me! Tanya: Mother? We're the same age! Rosie: Yeah. Well, parts of us are. Donna: Sky! Come meet my backup girls. Rosie, Tanya: Backup girls, my arse! Sky: You must be Tanya. I've heard so much about you. Tanya: Oh. All bad, I hope. Sky: Yes. Donna: And all true! Rosie: [looking down the hatch of Bill's boat] Cooee!
Bill: Heey! Right in time for breakfast. We're serving up the works here. Think you just did! Sam Carmichael: I see you kept my bagpipes. Donna: They're supposed to ward off unwanted visitors. Sam Carmichael: Oh, you don't need bagpipes to do that.
Share your thoughts on Mamma Mia! Notify me of new comments via email. Powered by CITE. Know another quote from Mamma Mia!? Don't let people miss on a great quote from the "Mamma Mia! Add a Quote. The Name of the Game Voulez-Vous. Batman Begins. Christopher Nolan - David Fincher - Citizen Kane. Orson Welles - Shawshank Redemption.
So I got to see how they developed arrangements from the rhythm section up. Sam Carmichael: My sentiments exactly. Ruby Sheridan. Fact is that quite a few people in the music industry weren't surprised at this bad ending. IMDB: 6. So they burnt bridges with disco music. The music was originally arranged, conducted and produced in by Davide Romani see photo and the late Francesco Puccioni a. At the time the only reason I took him to court is because he said "sue me"
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