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| LOVE DE-LUXE featuring |
| (Alan) Hawkshaw's Discophonia |
| One of the few British artists to impact American dance music in the disco-era, Alan Hawkshaw was already a well known figure in England's music scene.The keyboardist found his first brush with fame in the early 1960's as a member of Emile Ford & The Checkmates. The group had a handful of minor hits until their demise in late 1963. Hawkshaw continued on arranging and playing keyboards for a variety of top acts while honing his craft and gaining a reputation as a talented studio musician throughout the 1960's. In the early 1970's he became aquainted with John Farrar, this led to his inclusion on Olivia Newton-John's first two albums and work with former British teen-idol Cliff Richard. By 1973 his career was kicking into high gear as he began appearing on such U.S. top hits as David Essex's "Rock On" and Fancy's "Wild Thing." During this period he also became involved in soundtrack work, ("Jesus Christ Superstar"), which would serve him well in his later career. His credits at this point also included work with Donovan, P.J. Proby, Serge Gainsbourg and the Shadows. By 1976 disco music was well on it's way to gaining massive exposure. Alan made his first appearance on the club hit "Dance, Dance, Dance" by Madeline Bell (from her "This Is One Girl" album) that year. But it was his second appearance that year that sealed his fate in disco history. His work on Cerrone's "Love In 'C' Minor" was a door-opener for the versatile musician, from this point forward his energy was focused on the disco market. 1977 brought the keyboardist work on non-disco albums by Cliff Richard, Albert Finney, Hank Marvin, and Brian Bennett. But it was disco music that was the most lucrative and successful. No doubt that his talents helped propell "Once Upon A Time" (Donna Summer), "Romeo And Juliet" (Alec Costandinos & The Syncophonic Orchestra) and "Love And Kisses" (Love & Kisses) up the charts. His work with Costandinos made him an intergral part of the success and sound of Love & Kisses. Love & Kisses would have a banner year in 1978 with "How Much, How Much I Love You" and their inclusion on the "Thank God It's Friday" soundtrack album. He also found time to work with fellow brit Ian Levine on Evelyn Thomas' mega-successful "I Wanna Make It On My Own " album. Non disco outings included work with Chris East and Jane Birkin that year. Thanks to Costandinos Alan Hawkshaw got his own recording contract that year. Hawk wrote, arranged, played most of the instruments and produced the classic "Here Comes That Sound" album under the guise of Love De-Luxe featuring Hawkshaw's Discophonia. The album was released in England first and when Warner Brothers picked it up for U.S. distribution in early 1979 they brought in Jim Burgess to pair down the 16:52 album side into a DJ-friendly and workable 8:50 12" single. It worked and Love De-Luxe shot to the top of the American disco charts. The album featured the smooth gems: "When We're Dancing," "I Got That Feeling" and "Let Me Make It Up To You." Oddly enough another 12" single was not forth coming. By 1979 disco had hit the masses and even though he appeared on Roberta Kelly's "Gettin' The Spirit," Love & Kisses' "You Must Be Love" and his own Love De-Luxe release "Keep Down" and "Good Music" the discotrain was nearing the end. Hawkshaw's career was far from over, instead the musical genius moved back to other forms of music. He continued writing, arranging and producing as well as playing his famous keyboard riffs for a host of artists including Chris Spedding, Tyrone Ashley, Catherine Deneuve, David Bowie and The Strawbs to name a few. Hawkshaw, who has remaind active for the last 25 years, moved into new areas of the musical landscape. He has done a series of "lounge music" albums as well as soundtracks and "mood" albums. His "Mo-Hawks" creation gave him a whole new legion of fans and he is still going strong in the new millenium. Our hats off to disco's most famous "ivory-tickler" thanks Hawk! |
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