Жанр: Instrumental Pop, Orchestra, Disco
Страна: USA
Год издания: 1975
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
 Продолжительность: 33:35

Треклист:
A1 Caravan 4:05
A2 Masquerade 3:55
A3 Disco Carnival 4:12
A4 Zanzibar 3:48
B1 A Cancão Do Nosso Amor  4:36
B2 Delicado 5:32
B3 Bahia 4:00
B4 Brazil 3:07

Disco - electronica production - songwriting duo
They met each other in the late 60's at an audition for the Standells, The. The two went on to play in a rock band called Joshua, and in 1973 were hired by the AVI Records label to play on some extended remixes geared for dance-club play.
Their groundbreaking work is considered seminal for the evolution of electronic rhythm, from the 70's and on.
Their distinctive sound was partly a result of their jazz training, which showed up not only in their arrangements and chord progressions, but in the overall musicality and sonic imagination.
They created a series of alias projects and dominated the dancefloors as an american answer to the european electronic disco sound of Giorgio Moroder.

El Coco was the brainchild of Michael Lewis and Laurin Rinder. Much like Phil Spector, a decade earlier, these producers would create outlets for their musical genius.
These outlets or studio groups would often feature the same musicians and singers. Interchangeable pieces in the master plan. The faces and names might change but the
sound was constant.
Laurin Rinder was born in Los Angeles, California on April 3rd, 1943. He knew by the age of six that he wanted to be a musician and at seven, he was playing the trumpet.
His father, who was an understudy for Bing Crosby during the 1930's and 1940's, encouraged Laurin to play and later built him a drum set out of trashcans and corrugated
boxes. Soon the trumpet gave way to the saxophone and then finally the drums in his junior high school band.
He played on his first album as a session drummer in 1953 while only ten years old. During his sophomore year, he decided to drop out of high school to pursue music on a
full time basis by playing with local bands around Los Angeles. The first band he played with was Dick D’Augustine And The Swingers who had a local hit with a tune called
"Nancy Lynn."
At 19, Laurin enrolled in a correspondence course at The Berkeley School of Jazz and devoted his life to music. The great jazz artists of the day such as Davis, Monk and
Mingus were his influences. Laurin was among the first in a small group of young musicians that played rock and roll in Hollywood during the mid-to late 1950's. There was a
shortage of drummers, since little if any of the older musicians wanted to play this new style of music. Rock and roll in its infancy was essentially an amalgam of blues, R & B
and country & western. During the period between 1956 to around 1963 Laurin claims to have played on roughly about half of the music that was released during that time.
In the early 1960's Laurin made the move to Detroit and was part of the early Motown history along with friend Bernard Purdy. While now based in Detroit he continued
to travel and record in Philly, Miami, and the famed Muscle Shoals studios in Alabama where he played on Arthur Prysock, Anita O’Day and Billy Eckstein sessions among
others. He traveled extensively with James Brown, Muddy Waters, Jimmy Reed and John Hooker by bus throughout the South during the 1960's where he was usually the
only white player in a black group. Las Vegas also figured into his travels where he even did comedy as part of "Rinder, Ryder And The Swinging Brass" around 1966-67.
When asked why so many different things under his belt his only reply is, "I’m an opportunist. I look for the door and go through it." "Things got a little thin in the early
1970's when we were doing hard rock and at this time is when Michael (Lewis) comes in."
Around 1968 Laurin was living in Laguna Beach, California when he called his friend Dick Dodd, the leader singer of the group The Standells, to arrange for an audition. The Standells had scored a #-11 hit in 1966 with
"Dirty Water." Michael, who hailed from Alabama, was their keyboard player and had just come from another group, We Five, which had the 1966 hit "You Were On My Mind." Michael had also performed on fellow
Alabamian Percy Sledge’s "When A Man Loves A Woman." The two met and later went on to form a rock group called Joshua. The six-piece group was comprised of former members of The Righteous Brothers and Bonnie
And Delaney. After several unsuccessful years the group disbanded. The bands manager, Seymour Heller who was the president of "The Conference of the Personal Managers of the World" and guided the careers of such
stars as Liberace and Debbie Reynolds had other plans for Rinder and Lewis. Heller was the owner of "Producer’s Workshop" and partners with Ray Harris in the "American Variety International" (AVI) record label.
Around 1975 that they were asked by Harris if they knew anything about "this new music called Disco." They were then asked if they would like to go into the studio and try something out. Laurin recalls, "We went in
and did all this stuff and we were the first ones to do this thing. And I was putting in these sh, sh, sh hi-hat things on r&b songs that turned into Disco songs. Then I said why don’t we start using bells and whistles and I
do some strange sounds like ew-ee, ew-ee…we’ll put breaks into it and play some bass drum…boom-boom and who cares…" to which everyone agreed. A very popular gay disco called Studio One was near Laurin’s home,
so one night Laurin and Michael decided to stop by and see what this new Disco music was all about. The two found themselves dumbfounded. They could not help noticing that the crowd was eating it up and thought we
can do this with no problem at all.
Within a two-month stretch they pounded out tons of material with the first one being "Let's Get It Together." Released as an El Coco record it quickly took the clubs by surprise. The name El Coco came from their
heavy use of cocaine. The song came from a traveling actress/singer, Merria Ross, who was given studio time by AVI heads to record a song she had written called, "Let’s Get It Together." Laurin "fleshed out" the rest of
the song and Merria was given writing credit. In the studio all Merria ever sang was, "Let’s Get It, Get It Together…" After this, Merria went on to write songs for Randy Crawford, High Inergy and was even nominated for a
Grammy for Donna Summer's "Love Is In Control (Finger On the Trigger)" with Quincy Jones and Rod Temperton.
The El Coco branch of the Rinder/Lewis musical tree continued with the release of the 12" singles "Mondo Disco," "Just Be You," "Caravan," "Cocomotion," and "I'm Mad As Hell" all released in 1977. "Dancing In
Paradise," and "Coco Kane" followed in 1978 and "Love Exciter," "Cocomotion '79," and "Put Your Love On My Mind" ended the decade in 1979. The "group" had six album releases between 1976 and 1979. "Caravan"
(1976), "Mondo Disco" (1976), "Let's Get It Together" (1976), "Cocomotion" (1977), "Dancing In Paradise" (1978) and "Dance Man" (1979). Some of the many singers that comprised El Coco were: Chris Bocchino, Jerri
Bocchino, Kathy Nixon, Pat Powdrill, Marsha Thacker, Adrienne Williams, Alexandra Brown, Mortonette Jenkins, Cleo Kennedy, and of course, Merria Ross. This facet of Michael and Laurin's genius ended in 1979 as they
moved into recording under their own monikers.