LaRue's first recording was the 1974 Kirshner Records single "Honey Bear (The Good Time's Right Here)." A second one-off single, 1975's "Move In Closer," was on the Claridge Records imprint. Neither single charted. However the following year his luck changed with the 1976 album Ca-the-drals. The Pyramid Records album rose to #-123 on "Billboard's Hot 200" The double A-side 12" single of "Ca-the-drals" (backed with fellow artist/drummer Pat Lundy's "Day By Day/My Sweet Lord") was one of the earliest commercially available 12" singles. "Ca-the-drals/Deep Dark Delicious Night" would hit #-1 on "Billboard's Dance Music/Club Play Singles" chart. "Ca-the-drals" would also hit #-2 on "Billboard's Disco Singles" chart and #-94 on "Billboard's Hot 100" chart.
In less than a year he began work on his second album, The Tea Dance. The 1977 concept album capturing the essence and feel of a Broadway show featured such notable background singers as Lani Groves and Sharon Redd. It also included a duet with 1960s rock/pop icon Lou Christie on "Don't Keep It In The Shadows." The tracks: "Face Of Love," "Overture," "O Ba Ba (No Reino Da Mae Do Ouro)," "Indiscreet" and "Don't Keep It In The Shadows" would all chart at #-2 on "Billboard's Dance Music Club Play Singles" chart. "Indiscreet" would go one to become one of the more important and influential hip hop break tracks of the old skool hip hop eras.
Despite the brisk sales of both of LaRue's albums Pyramid Records folded operations in the USA in 1978. With the success of those albums he was easily licensed to Casablanca Records & Filmworks in 1978. His first release on his new label was "Do You Want The Real Thing?" The single was included on the platinum selling soundtrack album for the movie Thank God It's Friday. That same year saw LaRue release his third album Confessions. Once again he scored a hit with "Let Them Dance" which hit #-12 on "Billboard's Dance Music/Club Play Singles" chart. Also in 1978 LaRue had a cameo in the ill-fated movie Sgt. Pepper's Lonely Hearts Club Band.
In 1979 he released his fourth album Forces Of The Night. The singles "On With The Dance" (a duet with Michelle Aller) and "Hot Jungle Drums And Voodoo Rhythm" were released and the album charted at #-72 on "Billboard's Dance Music/Club Play Singles" chart. The album also featured a duet with Rita Moreno on "Have A Good Time." "Hot Jungle Drums And Voodoo Rhythm" was also included on the platinum selling compilation "A Night At Studio 54."
In 1980 he released his fifth and final album Star Baby. The album retained the spark and ingenuity that had been prevalent in his earlier releases but with the end of the disco era it failed to chart. The album featured another duet with Lou Christie "Into The Ozone" and the 12" single of "So Much For L.A."/"Boys Can't Fake It."
In 2006 his "Ca-the-drals" was sampled in England on the track "3 AM" by Moto Blanco (Bobby Blanco & Miki Moto.) The highly successful track would introduce LaRue and his music to a whole new generation. That same year LaRue released Wicked Youth (Selected Performances 1976-1984) from his own website. Besides rare edits of his previous hits the disc also included the previously mentioned "3 AM," "Good Morning, My Love" (with The Boys Choir Of Harlem), "Love Can Make You Strong" (another duet with Lou Christie previously unreleased) and "Edge Of The Night" (with Adam Goldstone.)
In 2010, LaRue recorded the new track "Crash And Burn" for the Ian Levine produced compilation album Northern Soul: 2010. In February 2012, LaRue returned with "More Things Change." A Nu Disco genre track he did with artist/producer Jimmy Michaels. As of 2012 LaRue has been the host of his own radio show "Disco Juice" on Newtown Radio. Tributes, themed shows as well as interviews of famed disco artists are his format on the Saturday night show.
Cathedrals
D.C. LaRue Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That marched across my bed
The faces after faces
Still inside my head
No words of love
The hollow sound
Of hungry people in the night
Do not say it was wrong or right
(Not say it was wrong or right)
But call it flight (fly away)
Oh, can Heaven tell me
Where they are now
They could fill cathedrals
Where are they now
They're in the dance halls
They're in the diners
They're in the streets
Where are they now
At the movies
They're in the bar rooms
Where are they now
They're in the dance halls
They're in the diners
They're in the streets
Where are they now
At the movies
They're in the bar rooms
They could fill cathedrals
(Cathedrals)
They could fill cathedrals, baby
(Cathedrals)
Each one is kind of special
As the music played
And so I'd end up leaving
When I should have stayed
Away from this
And all too fast
Another lover hits the dust
(Another lover hits the dust)
So much for all the time and trust
(So much for all the time and trust)
From love to lust
And back to love
Oh, can Heaven tell me
Where they are now
They could fill cathedrals
Where are they now
They're in the dance halls
They're in the diners
They're in the streets
Where are they now
They're at the movies
They're in the bar rooms
Where are they now
They're in the dance halls
They're in the diners
They're in the streets
Where are they now
They're at the movies
They're in the bar rooms
Oh, they could fill cathedrals
(Cathedrals)
Oh, they could fill cathedrals, baby
(Cathedrals)
Oh, they could fill cathedrals
(Cathedrals)
The song "Cathedrals" by D.C LaRue is a reflective piece about looking back at past relationships and the memories that still linger on. The opening lyrics depict a sense of longing for the people that were once present in the singer's life, but have now disappeared. The phrase "Where have the numbers gone that marched across my bed?" implies that the singer may have kept count of his past lovers, and the memory of their faces still remains with him. The song describes a feeling of emptiness and loneliness that the singer experiences, with the only comfort being the memories of past relationships.
The lyrics also touch upon the fleeting nature of relationships and how quickly they can end. The lines "From love to lust, and back to love" suggests that the singer has gone through cycles of relationships filled with passion but ultimately ends up alone. The chorus of the song reflects on how the missing people from the singer's past could "fill cathedrals," with the repetition of this phrase emphasizing the magnitude of these lost relationships.
Line by Line Meaning
Where have the numbers gone
Where have all the lovers gone
That marched across my bed
Who left me alone in bed
The faces after faces
The memories of their faces
Still inside my head
Are still haunting me
No words of love
No promises were made
The hollow sound
The emptiness of the situation
Of hungry people in the night
Of lonely people seeking love
(Hungry people in the night)
Do not say it was wrong or right
Don't judge the situation
(Not say it was wrong or right)
But call it flight (fly away)
But view it as a temporary escape
Oh, can Heaven tell me
I wonder, where are they now?
Where they are now
Where did my lovers go?
They could fill cathedrals
They were many
Where are they now
Where did they disappear?
They're in the dance halls
They're dancing with someone new
They're in the diners
They're having a late-night snack
They're in the streets
They're wandering aimlessly
At the movies
They're watching a romantic movie
They're in the bar rooms
They're trying to forget
Each one is kind of special
Each lover was unique
As the music played
As we danced together
And so I'd end up leaving
But eventually I had to leave
When I should have stayed
When I should have fought for love
Away from this
Away from this pain
And all too fast
And now it's all over
Another lover hits the dust
Another lover is gone
(Another lover hits the dust)
So much for all the time and trust
So much for all the promises and secrets
(So much for all the time and trust)
From love to lust
From true love to fleeting passion
And back to love
And back to missing them
Oh, they could fill cathedrals
There were so many lovers
(Cathedrals)
Oh, they could fill cathedrals, baby
The love was immense
(Cathedrals)
Oh, they could fill cathedrals
There were so many of them
(Cathedrals)
Contributed by Peyton K. Suggest a correction in the comments below.
@denisemanning4673
I remember this playing in the disco in the uk. Great times, great music. Not like the shit we are served today. I wish I was back in them days, sigh...πΊπΎπ
@anthonypaccione650
There are so so so many great disco cuts... So i'm not gonna say this is the best.... But its definitely one of the best. I was there from the Beginning of Disco, been to ALL of the NYC/NJ clubs 5 days a week... and this song was LIT!! The entire floor filled with people workin!! Hustlin! Bumpin! I can't@@@!!! You really had to be there. For those who were not there, i'm talking about dancing from the moment you stepped in the joint, till the moment you left... soakin wet clothing!!! Maybe it was just youth.. maybe it was the beat... but I danced from 11pm till 5am
@karinannamaria2514
Who's listening 2021????? love from sweden
@Felicien77
I am π
@ricksuegreen1753
Thank god I lived in the 70's this music WON'T EVER BE MADE AGAIN IN ANY OTHER ERA! This is the real deal.
@rondeneef
PPPRrrr Disco .....
@oscarmoriano1958
Es verdad adsolutad nunca se van a realizar la gran calidad musical de oro
@6_feet_underground
Hey, disco never died man :)
@leiutley4083
β] mm?
@robertacolarette1594
This was one of the top favorites to dance to in the clubs back then. So great.
Dancing was the number one reason for going out.