Sunshine

2009 two CD set, a collection of tracks from the Disco phenomenon led by Harry Casey. In their own understated way KC & the Sunshine Band were trailblazers with a multi-racial line-up. Like many other southern setups (most notably at Stax whose black and white musicians also freely recorded together despite the political climate at that time) it was a perfect marriage between the musicians, the gritty gut-bucket funk of the band mixed with Harry Casey's simple, but heartfelt lyrics lending it a pop-sheen lacking in comparable bands of the era. Featuring all the band's biggest hits plus great album tracks and seldom heard nuggets, this double disc compilation is the perfect introduction to a band that was worth far more than it's weight in hit singles. 41 tracks including 'That's the Way (I Like It)', 'Keep It Comin' Love', 'Please Don't Go', 'I'm Your Boogie Man', '(Shake Shake Shake) Shake Your Booty'. and many more.

The Sunshine Company's very name summons the spirit of the mini-genre of 1960s pop-rock that, long after its heyday, was named sunshine pop. So does their music, with the requisite exquisite multi-part male-female harmonies, buoyant optimism, and luxuriant late-1960s L.A. studio production. Look a little under the surface, though, and you find tinges of eccentric melancholy that set them apart from many of the frothy Mamas and the Papas-like groups of the period. Just as their music was more multi-dimensional than you might be led to believe by their trio of Top 100 hits, so was their story more complex than many would imagine. Could there have been any other band whose brief career whisked them through the orbits of the Carpenters, the Fifth Dimension, Jackson Browne, the Jefferson Airplane, Mary McCaslin, and John Davidson, ending at the even unlikelier destination of a pre-stardom Gregg Allman?

The Sunshine Company's very name summons the spirit of the mini-genre of 1960s pop-rock that, long after its heyday, was named sunshine pop. So does their music, with the requisite exquisite multi-part male-female harmonies, buoyant optimism, and luxuriant late-1960s L.A. studio production. Look a little under the surface, though, and you find tinges of eccentric melancholy that set them apart from many of the frothy Mamas and the Papas-like groups of the period. Just as their music was more multi-dimensional than you might be led to believe by their trio of Top 100 hits, so was their story more complex than many would imagine. Could there have been any other band whose brief career whisked them through the orbits of the Carpenters, the Fifth Dimension, Jackson Browne, the Jefferson Airplane, Mary McCaslin, and John Davidson, ending at the even unlikelier destination of a pre-stardom Gregg Allman?

It really was no accident that the Sunshine Pop genre arose when it did. Its roots lay in the largely white post rock’n’roll pop era when writing and production teams had firmly established footholds on both coasts of America, and when recording studios were starting to offer more tracks than the hitherto very basic four. Around 1965, a glance at the US charts revealed that harmony vocals were one of the few genres to withstand the British onslaught, and geed by that success record companies were eager to put money behind one of the few areas where indigenous acts could still outdo the Britons.

18 track best of collection includes 3 bonus floor fillers 'Get Down Tonight' (Original Long Version), 'That's the Way (I Like It)' (Original Long Version) & 'Get Down Tonight' (Miami Club Mix). EMI. 1998.

"All in a Night's Work" is the 9th studio album by the funk and disco group KC and the Sunshine Band. The album was produced by Harry Wayne Casey and Richard Finch and was released in August 1982 on the Epic label. "All in a Night's Work" sparked a brief return to success for the band, including the hit track "Give It Up", which became a #1 hit in the UK and Ireland, and reached #18 on the Pop charts in the United States.

Megamix: "The Official Bootleg" is a 1993 single by American soul/disco band KC & The Sunshine Band. It features three different versions of a megamix featuring a collection of all of their biggest hits plus a cover of Fleetwood Mac's "Don't Stop". This was released by ZYX Music.

The fifth volume in the perennially excellent Get Easy! series is arguably the strongest retrospective of sunshine pop ever compiled – spanning two CDs and 40 cuts, the set combs the vaults of labels like A&M, Verve, Philips, and MGM to capture the essence of late-'60s pop at its most musically ambitious. Inspired and arguably birthed by the Beach Boys, in particular their landmark Pet Sounds album, sunshine pop married radiant vocals harmonies and lush orchestral arrangements that wonderfully evoked a beatitude and poignancy often forgotten amidst the political and cultural turbulence of its era. There were some major hits of note from acts like the Association, the Turtles, and the Cowsills, but by and large sunshine pop remains largely a cult fascination, and this wonderful collection is the perfect place to hop aboard for both its hits and its rarities – virtually every song's a winner, but standouts include the Hobbits' "Sunny Day Girl," Spanky & Our Gang's "I'd Like to Get to Know You," the Twinn Connexion's "Oh What a Lovely Day," Van Dyke Parks' "Number Nine," and the The Fun and Games' "Topanga Canyon Road."

2008 release, the first-ever complete collection of the trio's records. The Parade were Murray MacLeod (also a member of the Roger Nichols Trio/Small Circle of Friends), Jerry Riopelle (Phil Spector protégé and former Philles staff producer), and Smokey Roberds (songwriter and actor). Originally signed to A&M Records, the Parade not only created a definitively West Coast Pop sound but also unknowingly helped establish the Sunshine Pop genre via their 1967 Billboard Top 20 hit, 'Sunshine Girl'. The gorgeous 16 page full-color booklet also includes rare, previously unpublished photos and comprehensive liner notes that feature the participation of all original band members.