Together they determined - quite brilliantly - that the damaged section of music appeared in near identical form later in the song. Pat managed to find technician Ron Obvious elsewhere in the building. He hit "Stop", but it was too late, the 2-inch "master tape" was mangled beyond recovery. Pat ran back to Studio B, just in time to witness the Scully "eating" the first part of our master tape (the Scully's fault. Pat told me how he had pressed "Play" on the Scully machine in Studio A, then he ran over to Studio B to monitor the audio as it was being transferred to the Studer. but I didn't hear about until 25 years later, when I ran into Pat Glover at a mutual friend's 60th birthday party. Using "tie lines" between the two studios, the audio would then be transferred onto the Studer machine, leaving an additional eight tracks for John's overdubs. The 2-inch master tape of "Let Me Take You Dancing" was placed on the Scully machine. the morning before our session, assistant engineer Pat Glover arranged for two rooms at Little Mountain Studio to be available: Studio A, with its 16-track Scully recorder, and Studio B with a 24-track Studer. Luongo needed twenty-four tracks to do the additional recording he had in mind. The original version was recorded on a 16-track machine. I don't remember who engineered the session - perhaps Roger Monk or Dave Slagter - however the assistants on the session were Pat Glover and Ron "Obvious" Vermeulen (twenty years later Ron would become the technical manager at Bryan's Warehouse Studios, as well as designing Mutt Lange's studio in Switzerland and my studio, The Armoury, in Vancouver). Luongo flew up to Vancouver where we'd booked an evening at Little Mountain Sound. now demolished).Īs I recall, "Let Me Take You Dancing" (in its original form) had already enjoyed some minor radio success as a single in Canada before John Luongo, a respected New York re-mixer, was brought in to add colour to the track and turn it into a "real" disco record for release in the USA. Don also happened to be Bryan's landlord (Bryan, his mom and his brother Bruce rented a house from Don on Creelman Street, in Vancouver. Wayne Kozak played tenor and baritone sax and Don Clark played trumpet.
Joani Taylor and Rosalyn Keene (and possibly Nancy Nash or Mary Saxton?) provided backing vocals. I played keyboards, bass and drums, and Bryan sang lead vocal. The original version of "Let Me Take You Dancing" was recorded by Geoff Turner at Pinewood Studios in Vancouver. His radio show, offering $500 to anyone who could name the recording Nearly 20 years later, in 1997, Howard Stern played "Let Me Take You Dancing" on
The re-mix to achieve the mandated magic Disco tempo of 120 beats-per-minute, making Bryan sound like a chipmunk on helium! Help that "Let Me Take You Dancing" was sped up during
Where he'd been expected to emulate former singer Nick Gilder. Singing in a high, fragile vocal range, a hold-over from his time with "Sweeney In 1978 Bryan hadn't yet "found" his voice. It started as a Robbie King-inspired piano riff Id written on my parents' "Let Me Take You Dancing" was completed in the first week or twoĪfter meeting Bryan in January 1978. Participated in writing and recording their album, "If Wishes Were Me Take You Dancing" was the first solo recording by BryanĪdams, age 18 (he'd previously been a member of the Canadian group "Sweeney Todd" and had