The Commodores - Keep On Dancing ( Alvin Cash - H Scott - I Gates - W Scott ) ATLANTIC RECORDS 45 - 2502\nRecord Collection - 1971\n• Band Members: Walter Orange, Ronald LaPread, Lionel Richie, Thomas McClary, J.D. Nicholas, William King, Milan Williams \n• Influenced by: Smokey Robinson \n• Genre: R B - Soul - Funk\nThe Commodores were formed in Tuskegee, Alabama in 1967. Tuskegee, a small college town was the home to the Mighty Mystics which featured Lionel Richie and Thomas McClary. And the Jays who had William King and Milan Williams. When the four got together on the campus of the Tuskegee Institute they knew they were onto something. With the later addition of Walter \"Clyde\" Orange and Ronald LaPread the classic line-up was in place.\n By 1968 they had garnered a well deserved reputation as the premier local band when they took a charity gig in New York city. In the Big Apple they met Benny Ashburn a business savvy entrepreneur who would eventually become their manager. \n Two years of performing on the road and travelling between N.Y., Alabama and all points in between landed them a shot with Atlantic Records. Bluesman Swamp Dogg produced the 1971 single \"Keep On Dancing.\" The single stalled and so too did their option with the label. But while performing at New York\'s Turntable Club their act was caught by Suzanne De Passe. The Motown executive was searching for an opening act for the label\'s newest discovery, The Jackson 5. Lionel and the boys jumped at the offer. The ensuing tour gave the Commodores valuble exposure and so impressed De Passe and Motown that they signed the group to a contract.\n Between touring with The Jackson 5 and preparing for their upcoming album, 1973 was an exciting year. Veteran Motown producer James Anthony Carmichael was brought in to help prepare their debut album. The first single from the group was a spastic disco driven instrumental. \"Machine Gun\" landed at #-7 RB and #-22 Pop and even went to #-1 in Nigeria! They were off to a good start but had yet to refine the parameters that would mark their hit years.\n The group\'s second album, 1975\'s \"Caught In The Act,\" produced an even bigger charter with the #-19 \"Slippery When Wet.\" The song was less disco-oriented and more RB-ish. The third album \"Movin\' On\" produced the #-5 \"Sweet Love.\" \"Sweet Love\" was the first of what became their trademark heartwarming ballad hits. Ironically while their success was imminent, the members continued to maintain their college courses, even stopping in mid-tour for exams.\n Their fourth album was the breakthrough album that defined the remainder of their career. 1976\'s \"Hot On The Tracks\" featured one ballad hit, \"Just To Be Close To You\" (#-7) and one disco/funk number \"Fancy Dancer\" (#-39). From this point forward the group would waffle from ballad hits to club/funk hits for the duration of their career. \n 1977 was an even bigger year for Lionel and the guys as they embarked on their first wolrd tour as headliners. Two major hits from the \"C1978 was a very visible year for the group beginning with their appearance alongside Donna Summer in \"Thank God It\'s Friday.\" Their soundtrack entry \"Too Hot Ta Trot\" was a Top 40 smash.\n That summer they had their first #-1 with \"Three Times A Lady.\" The song knocked the Rolling Stones (\"Miss You\") from it\'s perch and became one of Motown\'s biggest selling singles ever.\n That year also marked the first crack in the infrastructure of the group. It was becoming clear to industry insiders and fans that Lionel, the ever gifted songwriter, was quickly outgrowing the confines of a group. Though the actual split came later it was apparent that Richie was yearning to try new options and to possibly explore a solo career.ommodores\" album, the lilting #-4 \"Easy\" and the #-5 disco thriller \"Brick House\" cemented their stature at Motown and as a premier group
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