A Quote by Sheena Easton
When I was working with David Cassidy at the Rio, I made an album of updated versions of some 1970s disco tunes. I had a blast.
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I had some very good players and some wonderful young players hitting the scene. Rio Ferdinand, Paul Scholes, David Beckham, Michael Owen - we had something tangible to work with and move forward.
I didn't want to be the typical teen idol. I didn't want to be Leif Garrett. I didn't want to be Shaun Cassidy, David Cassidy or Parker Stevenson. I wanted to do my own thing.
This is an album of songs that I've always loved, tunes that I heard. For the first time in 53 years of recording, I really had control over an entire album, start to finish.
That big hit 'Get Lucky' is a disco song - not only the melody and the whole concept, but we had one of the great disco guys and one of the best guitarists ever, Nile Rodgers, to play on it. So that's great disco, but a modern disco, because it has great vocoders and synthesizers.
The 1970s was probably the most exciting decade to be a teenager, from discovering Little Richard at the end of the 1960s to glam rock to punk rock to electro music. So much happened in that 10-year span. There were so many musical revolutions. Some were happening at the same time. You had disco going on behind punk. You had Michael Jackson. You had the Sex Pistols.
As a late teenager, the punk movement pushed me further. In particular, the Clash, which happened to leak through the time of disco, showed me that there was this cross-cultural sound that could cut across genres and audiences. Like punk was to disco, rap music was a rebellion against R&B, which had adopted disco and made it worse.
There was a movement called 'disco sucks', it was a shame to like disco, but then there was no music to dance to, so some DJs started to use old disco records, but the B-sides and the acapellas, and we began producing beats with drum machines.
I realized at one point that David and I had not made a record together in almost 26 years and I thought that that was absurd because, first of all it had gone so fast, I didn't really realize, neither did David, that it had been that long.
When I was working at the Sprint store, I got laid off. I was bummed out, but I stayed positive. I used the money I had earned while working there to make my first album. Without that job, maybe 'Corazon Sin Cara' would never had been made. It's a very inspirational story.
The music industry isn't converging toward dance music. Dance music is dance music. It's been around since disco - and way before disco. But there's different versions of dance music.
I've known the poet Eileen Myles since the 1990s, when I first moved to New York, and I remember seeing her walking her Pit Bull Rosie around the East Village. She had these beautiful arms and David Cassidy hair and the sort of swagger so many of the gay boys I knew wished we had. We all had crushes on her.
I hated most music in the 1970s, especially disco, but Bowie was edgier.
Using Unix is the computing equivalent of listening only to music by David Cassidy.
Working in bars back then, in the '50s, to get a job you had to play all kinds of music. There'd be customers come in and yell jazz tunes at you and yell rock 'n' roll tunes at you and polkas and rhythm and blues and country music.
We had to support our player and genuinely felt, like Rio has said, that it was an honest mistake. It is important to know that Manchester United never said, and Rio Ferdinand never said, that a mistake hadn't been made.
My hair was long - in my high school year book, I looked like an ugly David Cassidy.
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