There are two artists with this name. 1) Funk/disco band from London, UK. 2… Read Full Bio ↴There are two artists with this name. 1) Funk/disco band from London, UK. 2) Synthwave artist from Germany.
1) Heatwave was an international funk/disco musical band featuring Americans Johnnie Wilder, Jr. and Keith Wilder (vocals) of Dayton, Ohio, Englishman Rod Temperton (keyboards), Swiss Mario Mantese (bass), Czechoslovakian Ernest "Bilbo" Berger (drums), Jamaican Eric Johns (guitar) and Londoner Roy Carter, (guitar).
They were known for their successful songs "Boogie Nights" and "Always and Forever" (from their 1976 debut album, Too Hot to Handle), and "The Groove Line" (from their 1978 follow-up album, Central Heating).
Founder member Johnnie Wilder was an American serviceman based in West Germany when he first began performing, upon his discharge from the U.S. Army, he stayed in Germany. He sang in nightclubs and taverns with an assortment of bands while still enlisted. By mid-year, he decided to relocate to the United Kingdom and through an ad placed in a local paper he linked up with songwriter/keyboardist Rod Temperton.
Touring the London nightclub circuit billed as Chicago's Heatwave during the mid-1970s allowed them to refine their sound, adding a funk groove to disco beats. In search of a fuller sound vocally, Johnnie Wilder called upon his brother Keith Wilder (who was performing in a local band in Dayton, Ohio) to join the band on vocals. The group signed to GTO Records in 1976. They were paired in the studio with GTO house producer/session guitarist Barry Blue and rhythm guitarist Jesse Whitten. Rhythm guitarist Roy Carter replaced Whitten after Whitten was stabbed to death in his hometown of Chicago, Illinois. They began creating their first album Too Hot to Handle in the fall of 1976.
Their third single, "Boogie Nights" from their debut album, scored number two on the British popular music charts in January, and also became a number 2 success in America in November. The group's debut album, Too Hot to Handle, was released in the spring of 1977, giving Heatwave a number eleven success in the U.S. - reaching number five on the R&B charts, while the next single, the soul ballad "Always and Forever", closed out the year with a number two U.S. R&B success and #18 pop success in December.
Continuing to use Barry Blue's production skills, Heatwave released their second album Central Heating in April 1978. Lead single "The Groove Line," reached number seven in the charts.
During the late 1970s the band changed. At first Eric Johns quit the band and Billy Jones was his replacement as guitarist. Then Rod Temperton quit the band. Although Temperton would continue writing new songs for Heatwave, he soon became better-known for his songwriting for other artists, penning award-winning songs for some of funk's biggest names, including Rufus and The Brothers Johnson. He also wrote for Herbie Hancock and Quincy Jones, but his most famous partnership remains the one forged with Michael Jackson, writing three songs for his 1979 Epic debut Off The Wall - "Rock With You," "Off The Wall" and "Burn This Disco Out", and three songs for the 1982 Thriller LP, including the title track.
Despite these changes Heatwave were about to return to the studio, only to suffer a tragedy: Mantese attended a party at Elton John's house in London. He was with is girlfriend, who decided to go home early from the party, reason unknown. When Mantese arrived home, she was furious with him, perhaps from an incident that happended at the party and stabbed him. The knife hit him in the heart and for several minutes, he was clinically dead. When, after several months, he awoke from coma, he was blind, mute and paralysed in his entire body. To date, he has no memory of this tragic event. He decided not to press charges against his girlfriend, and moved in with her after leaving the hospital. Mantese was replaced by bassist Derek Bramble. Adding keyboardist Calvin Duke to the group, and now working with new producer Phil Ramone, Heatwave cut Hot Property, released in May 1979.
During the spring of 1979, lead-vocalist and songwriter Johnnie Wilder, Jr., also suffered injuries in an auto accident while visiting family and friends in Dayton, Ohio. Although he survived, the accident left him paralyzed from the neck down and unable to continue performing with the group. After the accident, Johnnie remained a co-producer of the group, along with Blue.
Determined to continue working with the band he had nurtured since the very beginning, Wilder participated with studio work and, during 1980, Heatwave recorded the Candles LP, with Temperton again providing the songs, except stand out track "All I Am", written by Blue's former writing partner Lynsey de Paul. The group recruited James Dean "J.D." Nicholas, who later became a member of the Commodores, to handle vocals in concert.[1]
Heatwave's popularity was on the wane, though, as the November single "Gangsters of the Groove" proved to be their last popular music success, scoring number twenty-one in the U.S., and number twenty in the United Kingdom early in the New Year. But the album peaked at a mere number seventy-one in the United States in December 1980.
Heatwave's 1982 LP, Current, marked yet another new era for the band, as they returned to producer Blue. The album managed only number 156 on the U.S. Billboard 200, although it scored the band a number twenty-one success on the R&B charts, where Heatwave continued to be a strong presence. A Rod Temperton penned single, "Lettin' It Loose," proved a minor success during August.
Derek Bramble quit the band at the end of 1982, like Roy Carter, for a career in production (he would go on to work with David Bowie on 1984s Tonight LP, and later masterminded Jaki Graham's breakthrough). J.D. Nicholas left to replace Lionel Richie as the lead singer of the Commodores. After this long series of departures, the remaining members of Heatwave effectively disbanded.
Completely cosmopolitan with international grooves to spare, Heatwave emerged as one of the disco era's funkiest dance groups. American serviceman brothers Johnnie Wilder and his brother Keith Wilder were based in Germany when they first began performing, and upon their discharge from the Army, the duo stayed in that country. Both singers, the pair gigged in clubs and bars with an assortment of bands while still enlisted. However, they were constantly looking to expand their horizons, and in mid-year they relocated to the U.K. to link up with songwriter/keyboardist Rod Temperton.
The nascent Heatwave quickly came together with the addition of Spanish bassist Mario Mantese, Czechoslovakian drummer Emest Berger, and American guitarists Jesse Whittens and Eric Johns. With so many musical roots between them, it was only natural that they rapidly developed a sophisticated sound, an edge which Temperton would use to push Heatwave ahead of their peers.
Jamming and ceaselessly touring the London club circuit allowed Heatwave to define and refine their music, eschewing straight disco beats for a sound that certainly contained that element, but fused it with a rich funk groove. That hard work paid off as the band signed to U.K. label GTO (Epic in the U.S) and began formulating their first album in fall 1976. They were paired in the studio with GTO house producer/session guitarist Barry Blue, who'd had his own string of hit singles, "Dancing on a Saturday Night" and "Do You Wanna Dance" among them in the early '70s.
The recording sessions nearly derailed, however, when Whittens was murdered before the band had even entered the studio. He was replaced with rhythm guitarist Roy Carter, and a pair of singles, "Ain't No Half Steppin'" and "Super Soul Sister," appeared before the end of 1976, to be followed by January 1977's anthemic "Boogie Nights."
That single reached number two on the British pop charts (it wouldn't appear on the American radar until later that summer, when it became a Top Five hit). The group's long-awaited debut album, Too Hot to Handle, finally appeared in late spring 1977, giving Heatwave a number 11 hit in the U.S. It cruised to number five on the R&B charts, while the next single, the sweet soul ballad "Always and Forever," closed out the year with a number two U.S. hit in December.
Again using Blue's production skills, Heatwave released Central Heating in April 1978. The album rode firmly on the tails of its massive single, the classic "The Groove Line," a hard-hitting dance groove that rocketed up the charts, leaving the album's other single, the beautiful ballad "Mind Blowing Decisions," gasping for air in its wake.
Although their star power seemed unstoppable, Heatwave were to take some hard knocks in 1978, as first Johns, then Temperton quit the band. Although Temperton would continue writing new songs for Heatwave, he swiftly became better known for his songwriting for other artists, penning award-winning songs for some of funk's heaviest hitters, including Rufus and the Brothers Johnson. He also wrote for Herbie Hancock and Quincy Jones, but his most famous partnership remains the one forged with Michael Jackson, writing two songs, "Rock with You" and "Off the Wall," for Jackson's 1979 Off the Wall LP. He then returned to Jackson's camp in 1982 with three songs for the Thriller LP, including the seminal title track.
Shaken but undaunted by recent events, Heatwave was about to return to the studio, only to be dealt another blow as Mantese was stabbed by his girlfriend. He was clinically dead for several minutes, remained paralyzed, and had no alternative but to leave the band. Derek Bramble replaced him. Adding guitarist William Jones and keyboardist Calvin Duke to the group, and now working with new producer Phil Ramone, Heatwave cut Hot Property.
Released in May 1979, with nine of the ten songs penned by Temperton, the album unexpectedly foundered, despite its strong mix of ballads, soul scorchers, and classic funk grooves, ultimately hovering just inside the U.S. Top 40. Of the album's singles, "Therm Warfare," "Razzle Dazzle," "One Night Tan," and "Eyeballin'" all failed to raise the roof, with only the latter even bothering the R&B Top 30.
Soon after, Heatwave received another dismal blow as Carter left to carve his own path as a producer, ultimately having major success with Linx in the early '80s. He was replaced by keyboardist Keith Harrison, but just as it seemed that the band might finally put their shakeups behind them, founder Johnnie Wilder was involved in a terrible car crash. Although he survived the accident, he was paralyzed from the neck down.
Determined to continue working with the band he'd nurtured since the very beginning, Wilder remained on board for studio work and, in 1980, Heatwave recorded the Candles LP, with Temperton again providing the songs. The group recruited James Dean "JD" Nichols to handle vocals in concert.
Heatwave's spotlight seemed to be waning, though, as the November single "Gangsters of the Groove" proved their last pop hit, reaching number 21 in the U.S. and pulling in a surprisingly impressive number 20 in the U.K. early in the new year. But the album peaked at a mere number 71 U.S. in December 1980, bringing a tumultuous time to a somewhat disappointing close. Two further singles, "Jitterbuggin'" and "Where Did I Go Wrong," charted the following year, while both "Posin' til Closin'" and "Turn Around" fared even worse.
Heatwave's 1982 LP, Current, marked yet another new era for the band as they returned to producer Barry Blue. The album managed only a desultory number 156 on the U.S. pop charts, although it scored the band a number 21 hit on the R&B charts, where Heatwave continued to be a strong presence. A Rod Temperton-penned single, "Lettin' It Loose" proved a minor hit in August. However, it also sounded a death knell for the group.
Bramble quit the band at the end of 1982, like Carter, for a career in production (he would go on to work with David Bowie on 1984's Tonight LP, and later masterminded Jaki Graham's breakthrough). Nichols, too, decamped to fill Lionel Richie's shoes in the Commodores. At the end of a staggering series of departures, the remaining members of Heatwave essentially brought down the curtain -- the band was rendered inactive, and for all intents disbanded.
Silent since early 1983, the Wilder brothers resurfaced in 1989 with the album Sound of Soul on Blatent. The following year, Johnnie Wilder released a solo spiritual album, My Goals, on Light. Neither sold well, but Heatwave itself was revitalized in 1991, when a remix version of their "Mind Blowing Decisions" charted in the U.K and, by the middle of the decade, Keith Wilder had re-formed the band. Joined by bassist Dave Williamson, keyboardists Kevin Sutherland and Byron Byrd, and guitarist Bill Jones, the reborn Heatwave launched an American tour with a live album, Live at the Greek Theater, arriving in 1997. Long-standing favorites of the retro dance circuit, Heatwave fans were also treated to a new extended club remix of "Boogie Nights" in 2002.
Johnnie Wilder died in Dayton, Ohio on May 13, 2006. Rod Temperton died on October 5, 2016. Keith Wilder died on October 29, 2017.
2) HEATWAVE is an emerging music project that blends 80s nostalgia with modern Synthwave, New Retro Wave, and Retrowave. Drawing inspiration from Darksynth, Darkwave, and Outrun, HEATWAVE offers a unique combination of analog sounds and modern production techniques.
1) Heatwave was an international funk/disco musical band featuring Americans Johnnie Wilder, Jr. and Keith Wilder (vocals) of Dayton, Ohio, Englishman Rod Temperton (keyboards), Swiss Mario Mantese (bass), Czechoslovakian Ernest "Bilbo" Berger (drums), Jamaican Eric Johns (guitar) and Londoner Roy Carter, (guitar).
They were known for their successful songs "Boogie Nights" and "Always and Forever" (from their 1976 debut album, Too Hot to Handle), and "The Groove Line" (from their 1978 follow-up album, Central Heating).
Founder member Johnnie Wilder was an American serviceman based in West Germany when he first began performing, upon his discharge from the U.S. Army, he stayed in Germany. He sang in nightclubs and taverns with an assortment of bands while still enlisted. By mid-year, he decided to relocate to the United Kingdom and through an ad placed in a local paper he linked up with songwriter/keyboardist Rod Temperton.
Touring the London nightclub circuit billed as Chicago's Heatwave during the mid-1970s allowed them to refine their sound, adding a funk groove to disco beats. In search of a fuller sound vocally, Johnnie Wilder called upon his brother Keith Wilder (who was performing in a local band in Dayton, Ohio) to join the band on vocals. The group signed to GTO Records in 1976. They were paired in the studio with GTO house producer/session guitarist Barry Blue and rhythm guitarist Jesse Whitten. Rhythm guitarist Roy Carter replaced Whitten after Whitten was stabbed to death in his hometown of Chicago, Illinois. They began creating their first album Too Hot to Handle in the fall of 1976.
Their third single, "Boogie Nights" from their debut album, scored number two on the British popular music charts in January, and also became a number 2 success in America in November. The group's debut album, Too Hot to Handle, was released in the spring of 1977, giving Heatwave a number eleven success in the U.S. - reaching number five on the R&B charts, while the next single, the soul ballad "Always and Forever", closed out the year with a number two U.S. R&B success and #18 pop success in December.
Continuing to use Barry Blue's production skills, Heatwave released their second album Central Heating in April 1978. Lead single "The Groove Line," reached number seven in the charts.
During the late 1970s the band changed. At first Eric Johns quit the band and Billy Jones was his replacement as guitarist. Then Rod Temperton quit the band. Although Temperton would continue writing new songs for Heatwave, he soon became better-known for his songwriting for other artists, penning award-winning songs for some of funk's biggest names, including Rufus and The Brothers Johnson. He also wrote for Herbie Hancock and Quincy Jones, but his most famous partnership remains the one forged with Michael Jackson, writing three songs for his 1979 Epic debut Off The Wall - "Rock With You," "Off The Wall" and "Burn This Disco Out", and three songs for the 1982 Thriller LP, including the title track.
Despite these changes Heatwave were about to return to the studio, only to suffer a tragedy: Mantese attended a party at Elton John's house in London. He was with is girlfriend, who decided to go home early from the party, reason unknown. When Mantese arrived home, she was furious with him, perhaps from an incident that happended at the party and stabbed him. The knife hit him in the heart and for several minutes, he was clinically dead. When, after several months, he awoke from coma, he was blind, mute and paralysed in his entire body. To date, he has no memory of this tragic event. He decided not to press charges against his girlfriend, and moved in with her after leaving the hospital. Mantese was replaced by bassist Derek Bramble. Adding keyboardist Calvin Duke to the group, and now working with new producer Phil Ramone, Heatwave cut Hot Property, released in May 1979.
During the spring of 1979, lead-vocalist and songwriter Johnnie Wilder, Jr., also suffered injuries in an auto accident while visiting family and friends in Dayton, Ohio. Although he survived, the accident left him paralyzed from the neck down and unable to continue performing with the group. After the accident, Johnnie remained a co-producer of the group, along with Blue.
Determined to continue working with the band he had nurtured since the very beginning, Wilder participated with studio work and, during 1980, Heatwave recorded the Candles LP, with Temperton again providing the songs, except stand out track "All I Am", written by Blue's former writing partner Lynsey de Paul. The group recruited James Dean "J.D." Nicholas, who later became a member of the Commodores, to handle vocals in concert.[1]
Heatwave's popularity was on the wane, though, as the November single "Gangsters of the Groove" proved to be their last popular music success, scoring number twenty-one in the U.S., and number twenty in the United Kingdom early in the New Year. But the album peaked at a mere number seventy-one in the United States in December 1980.
Heatwave's 1982 LP, Current, marked yet another new era for the band, as they returned to producer Blue. The album managed only number 156 on the U.S. Billboard 200, although it scored the band a number twenty-one success on the R&B charts, where Heatwave continued to be a strong presence. A Rod Temperton penned single, "Lettin' It Loose," proved a minor success during August.
Derek Bramble quit the band at the end of 1982, like Roy Carter, for a career in production (he would go on to work with David Bowie on 1984s Tonight LP, and later masterminded Jaki Graham's breakthrough). J.D. Nicholas left to replace Lionel Richie as the lead singer of the Commodores. After this long series of departures, the remaining members of Heatwave effectively disbanded.
Completely cosmopolitan with international grooves to spare, Heatwave emerged as one of the disco era's funkiest dance groups. American serviceman brothers Johnnie Wilder and his brother Keith Wilder were based in Germany when they first began performing, and upon their discharge from the Army, the duo stayed in that country. Both singers, the pair gigged in clubs and bars with an assortment of bands while still enlisted. However, they were constantly looking to expand their horizons, and in mid-year they relocated to the U.K. to link up with songwriter/keyboardist Rod Temperton.
The nascent Heatwave quickly came together with the addition of Spanish bassist Mario Mantese, Czechoslovakian drummer Emest Berger, and American guitarists Jesse Whittens and Eric Johns. With so many musical roots between them, it was only natural that they rapidly developed a sophisticated sound, an edge which Temperton would use to push Heatwave ahead of their peers.
Jamming and ceaselessly touring the London club circuit allowed Heatwave to define and refine their music, eschewing straight disco beats for a sound that certainly contained that element, but fused it with a rich funk groove. That hard work paid off as the band signed to U.K. label GTO (Epic in the U.S) and began formulating their first album in fall 1976. They were paired in the studio with GTO house producer/session guitarist Barry Blue, who'd had his own string of hit singles, "Dancing on a Saturday Night" and "Do You Wanna Dance" among them in the early '70s.
The recording sessions nearly derailed, however, when Whittens was murdered before the band had even entered the studio. He was replaced with rhythm guitarist Roy Carter, and a pair of singles, "Ain't No Half Steppin'" and "Super Soul Sister," appeared before the end of 1976, to be followed by January 1977's anthemic "Boogie Nights."
That single reached number two on the British pop charts (it wouldn't appear on the American radar until later that summer, when it became a Top Five hit). The group's long-awaited debut album, Too Hot to Handle, finally appeared in late spring 1977, giving Heatwave a number 11 hit in the U.S. It cruised to number five on the R&B charts, while the next single, the sweet soul ballad "Always and Forever," closed out the year with a number two U.S. hit in December.
Again using Blue's production skills, Heatwave released Central Heating in April 1978. The album rode firmly on the tails of its massive single, the classic "The Groove Line," a hard-hitting dance groove that rocketed up the charts, leaving the album's other single, the beautiful ballad "Mind Blowing Decisions," gasping for air in its wake.
Although their star power seemed unstoppable, Heatwave were to take some hard knocks in 1978, as first Johns, then Temperton quit the band. Although Temperton would continue writing new songs for Heatwave, he swiftly became better known for his songwriting for other artists, penning award-winning songs for some of funk's heaviest hitters, including Rufus and the Brothers Johnson. He also wrote for Herbie Hancock and Quincy Jones, but his most famous partnership remains the one forged with Michael Jackson, writing two songs, "Rock with You" and "Off the Wall," for Jackson's 1979 Off the Wall LP. He then returned to Jackson's camp in 1982 with three songs for the Thriller LP, including the seminal title track.
Shaken but undaunted by recent events, Heatwave was about to return to the studio, only to be dealt another blow as Mantese was stabbed by his girlfriend. He was clinically dead for several minutes, remained paralyzed, and had no alternative but to leave the band. Derek Bramble replaced him. Adding guitarist William Jones and keyboardist Calvin Duke to the group, and now working with new producer Phil Ramone, Heatwave cut Hot Property.
Released in May 1979, with nine of the ten songs penned by Temperton, the album unexpectedly foundered, despite its strong mix of ballads, soul scorchers, and classic funk grooves, ultimately hovering just inside the U.S. Top 40. Of the album's singles, "Therm Warfare," "Razzle Dazzle," "One Night Tan," and "Eyeballin'" all failed to raise the roof, with only the latter even bothering the R&B Top 30.
Soon after, Heatwave received another dismal blow as Carter left to carve his own path as a producer, ultimately having major success with Linx in the early '80s. He was replaced by keyboardist Keith Harrison, but just as it seemed that the band might finally put their shakeups behind them, founder Johnnie Wilder was involved in a terrible car crash. Although he survived the accident, he was paralyzed from the neck down.
Determined to continue working with the band he'd nurtured since the very beginning, Wilder remained on board for studio work and, in 1980, Heatwave recorded the Candles LP, with Temperton again providing the songs. The group recruited James Dean "JD" Nichols to handle vocals in concert.
Heatwave's spotlight seemed to be waning, though, as the November single "Gangsters of the Groove" proved their last pop hit, reaching number 21 in the U.S. and pulling in a surprisingly impressive number 20 in the U.K. early in the new year. But the album peaked at a mere number 71 U.S. in December 1980, bringing a tumultuous time to a somewhat disappointing close. Two further singles, "Jitterbuggin'" and "Where Did I Go Wrong," charted the following year, while both "Posin' til Closin'" and "Turn Around" fared even worse.
Heatwave's 1982 LP, Current, marked yet another new era for the band as they returned to producer Barry Blue. The album managed only a desultory number 156 on the U.S. pop charts, although it scored the band a number 21 hit on the R&B charts, where Heatwave continued to be a strong presence. A Rod Temperton-penned single, "Lettin' It Loose" proved a minor hit in August. However, it also sounded a death knell for the group.
Bramble quit the band at the end of 1982, like Carter, for a career in production (he would go on to work with David Bowie on 1984's Tonight LP, and later masterminded Jaki Graham's breakthrough). Nichols, too, decamped to fill Lionel Richie's shoes in the Commodores. At the end of a staggering series of departures, the remaining members of Heatwave essentially brought down the curtain -- the band was rendered inactive, and for all intents disbanded.
Silent since early 1983, the Wilder brothers resurfaced in 1989 with the album Sound of Soul on Blatent. The following year, Johnnie Wilder released a solo spiritual album, My Goals, on Light. Neither sold well, but Heatwave itself was revitalized in 1991, when a remix version of their "Mind Blowing Decisions" charted in the U.K and, by the middle of the decade, Keith Wilder had re-formed the band. Joined by bassist Dave Williamson, keyboardists Kevin Sutherland and Byron Byrd, and guitarist Bill Jones, the reborn Heatwave launched an American tour with a live album, Live at the Greek Theater, arriving in 1997. Long-standing favorites of the retro dance circuit, Heatwave fans were also treated to a new extended club remix of "Boogie Nights" in 2002.
Johnnie Wilder died in Dayton, Ohio on May 13, 2006. Rod Temperton died on October 5, 2016. Keith Wilder died on October 29, 2017.
2) HEATWAVE is an emerging music project that blends 80s nostalgia with modern Synthwave, New Retro Wave, and Retrowave. Drawing inspiration from Darksynth, Darkwave, and Outrun, HEATWAVE offers a unique combination of analog sounds and modern production techniques.
Boogie Nights
Heatwave Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Boogie nights, whoa
Boogie nights, whoa
(Boogie nights)
(Boogie nights)
(Boogie nights)
Ain't no doubt we are here to party
(Boogie nights)
Come on now got to get it started
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights)
Get that groove let it take you higher
(Boogie nights)
Make it move set this place on fire
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Party right)
Can you show that you know how to do it
(Boogie nights)
Do it, do it
(Party right)
Ghetto down with the sounds of the music
(Boogie nights)
Music, music
(Boogie nights)
It's alright when you got the feeling
(Boogie nights)
Hold it tight got to keep on dealing
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights)
Got to keep on dancing, keep on dancing (boogie nights)
(Boogie nights)
Got to keep on dancing, keep on dancing (boogie nights)
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Party right)
Are you sure that you know how to do it?
(Boogie nights)
Do it, do it
(Party right)
Ghetto down with the sounds of the music
(Boogie nights)
Music, music
(Boogie nights)
It's alright when you got the feeling
(Boogie nights)
Hold it tight got to keep on dealing
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing (boogie nights, oh)
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing (boogie nights, oh)
Got to keep on dancing, keep on dancing
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
(Boogie nights, oh)
(Boogie nights, oh)
(Boogie nights, oh)
Boogie nights, whoa
(Boogie nights)
(Boogie nights)
(Boogie nights)
Ain't no doubt we are here to party
(Boogie nights)
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights)
Get that groove let it take you higher
(Boogie nights)
Make it move set this place on fire
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Party right)
Can you show that you know how to do it
(Boogie nights)
Do it, do it
(Party right)
Ghetto down with the sounds of the music
(Boogie nights)
Music, music
(Boogie nights)
It's alright when you got the feeling
(Boogie nights)
Hold it tight got to keep on dealing
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights)
Got to keep on dancing, keep on dancing (boogie nights)
(Boogie nights)
Got to keep on dancing, keep on dancing (boogie nights)
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Party right)
Are you sure that you know how to do it?
(Boogie nights)
Do it, do it
(Party right)
Ghetto down with the sounds of the music
(Boogie nights)
Music, music
(Boogie nights)
It's alright when you got the feeling
(Boogie nights)
Hold it tight got to keep on dealing
Dance with the boogie get down
(Dance with the boogie get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing (boogie nights, oh)
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing (boogie nights, oh)
Got to keep on dancing, keep on dancing
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
(Boogie nights, oh)
(Boogie nights, oh)
(Boogie nights, oh)
The lyrics to Heatwave’s “Boogie Nights” encourage listeners to join in on the fun and dance. The repetition of the phrase “boogie nights” creates an infectious energy that compels the listener to move their body. The song starts off with a call to party and an assurance that the “boogie nights” are the best nights in town. The lyrics then emphasize the importance of continuing to dance as the party progresses. The chorus reinforces the message that dancing is key to enjoying the “boogie nights.” The bridge of the song continues to encourage listeners to participate by showcasing their moves and to groove with the music. The lines “it’s alright when you got the feeling / hold it tight got to keep on dealing” reinforce the idea that dancing is an integral part of the party experience. The repetition of the phrase “got to keep on dancing” underscores the importance placed on dance throughout the song.
The lyrics of “Boogie Nights” consist of simple phrases that are easy to sing-along to, making the song a hit on the dance floor. The falsetto singing style of Johnnie Wilder Jr. adds an element of fun to the song, and his voice is well-matched against the background vocalists. The song’s catchy beat and disco-infused sound made it popular both in America and the UK, earning it a spot on the charts in both countries. “Boogie Nights” also helped Heatwave to establish their musical career, with the song becoming one of their signature hits. The song is an energetic anthem that celebrates the joy of dancing, and its upbeat message continues to inspire listeners to get up and dance.
Line by Line Meaning
Boogie nights, whoa
The singer is excited for the upcoming night of dancing and partying.
(Boogie nights)
The singer reiterates their excitement for the night ahead.
Ain't no doubt we are here to party
The singer affirms that their purpose for being there is to party and have a good time.
Come on now got to get it started
The artist urges the listeners to start dancing and getting into the music immediately.
Dance with the boogie get down
The artist instructs the listeners to dance along to the music and have fun.
(Dance with the boogie get down)
The singer repeats their instruction to dance and emphasizes its importance to the night's enjoyment.
'Cause boogie nights are always the best in town
The singer believes that boogie nights are the best kind of nights for partying and having fun.
Got to keep on dancing, keep on dancing
The artist emphasizes the importance of continuing to dance and enjoy the music throughout the night.
Get that groove let it take you higher
The artist encourages the listeners to let the music take over their bodies and spirits, and to enjoy their dance moves.
Make it move set this place on fire
The artist wants the energy in the room to be ramped up and for everyone to let loose and express themselves through dance.
(Party right)
The singer acknowledges that the night is a party and that everyone should be having a good time.
Can you show that you know how to do it
The artist challenges the listeners to prove that they are good dancers and can keep up with the music's energy.
(Do it, do it)
The singer repeats their challenge and encourages the listeners to dance and have fun.
Ghetto down with the sounds of the music
The singer wants the listeners to fully immerse themselves in the music and vibe of the night.
(Music, music)
The singer repeats the sentiment that the music is the most important part of the night's enjoyment.
It's alright when you got the feeling
The artist believes that as long as the listeners are feeling good and having fun, everything else will be okay.
Hold it tight got to keep on dealing
The artist wants the listeners to maintain their energy and intensity throughout the night to keep the party going.
If you wanna boogie, you got to boogie at the boogie boogie night (boogie nights, oh)
The singer reiterates that this is the night to let loose and have fun dancing to the music.
Lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: Rodney Lynn Temperton
Lyrics Licensed & Provided by LyricFind
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@user-ww7ec2ot4n
Lyrics:
Boogie nights, whoa
Boogie nights, whoa
(Boogie nights, boogie nights)
(Boogie nights) Ain't no doubt, we are here to party
(Boogie nights) Come on now, got to get it started
Dance with the boogie, get down
(Dance with the boogie, get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights) Get that groove, let it take you higher
(Boogie nights) Make it move, set this place on fire
Dance with the boogie, get down
(Dance with the boogie, get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Party right) Can you show that you know how to do it?
(Boogie nights) Do it, do it
(Party right) Settle down with the sounds of the music
(Boogie nights) Music, music
(Boogie nights) Feel so right when you got the feeling
(Boogie nights) Hold you tight got to keep on dealing
Dance with the boogie, get down
(Dance with the boogie. get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, boogie nights)
Got to keep on dancing, keep on dancing
(Boogie nights, boogie nights)
Got to keep on dancing, keep on dancing
Dance with the boogie, get down
(Dance with the boogie, get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, oh)
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, oh)
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
@massimilianomiotello3473
Great song and great sound 70’s 🕺🏻
@wmbrown6
This was part of a streak in the UK, the third of five straight "other," "unofficial" #1's that only topped the Melody Maker charts between September 1976 and June 1977. (The others: "Let 'Em In" by Wings; Can't Get By Without You" by The Real Thing; "Going In With My Eyes Open" by David Soul; and "Ain't Gonna Bump No More (With No Big Fat Woman)" by Joe Tex.)
(By month's end, the streak was broken, when the Sex Pistols' "God Save The Queen" made #1 on the New Musical Express' chart, one week after it reached peaks of #2 in BMRB and #5 in Melody Maker.)
@smowkdaddy
So cool and fun! Please bring me his back
@markcharvat2573
Radio would also play a version that starts with “boogie nights” cold intro
@eddiecharlie77
There was a shorter edited version for AM Radio that didn't feature the harp prelude.
@markcharvat2573
Loved that version- sounded great out of a shotgun jingle !!
@jeffboettcher2531
Since today would've been my uncle's birthday, let's all BooGie for him!
Yup-Yup-Yup-Yup!
@user-ww7ec2ot4n
Lyrics:
Boogie nights, whoa
Boogie nights, whoa
(Boogie nights, boogie nights)
(Boogie nights) Ain't no doubt, we are here to party
(Boogie nights) Come on now, got to get it started
Dance with the boogie, get down
(Dance with the boogie, get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights) Get that groove, let it take you higher
(Boogie nights) Make it move, set this place on fire
Dance with the boogie, get down
(Dance with the boogie, get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Party right) Can you show that you know how to do it?
(Boogie nights) Do it, do it
(Party right) Settle down with the sounds of the music
(Boogie nights) Music, music
(Boogie nights) Feel so right when you got the feeling
(Boogie nights) Hold you tight got to keep on dealing
Dance with the boogie, get down
(Dance with the boogie. get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, boogie nights)
Got to keep on dancing, keep on dancing
(Boogie nights, boogie nights)
Got to keep on dancing, keep on dancing
Dance with the boogie, get down
(Dance with the boogie, get down)
'Cause boogie nights are always the best in town
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, oh)
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, oh)
Got to keep on dancing, keep on dancing
Got to keep on dancing, keep on dancing
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
(Boogie nights, oh)
If you wanna boogie, boogie, boogie, boogie nights
@TheEggplantThatAteChicago
Makes sense this is Eurodisco. Doesn't have the edge or groove of earlier hits.
@Elphidore
Michael Jackson y a certainement trouvé une source d'inspiration pour la pièce Off the Wall en 1979 !