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B.T. Express (originally named Brooklyn Transit Express) was an American funk/disco group, that had a number of successful songs during the 1970s.
Contents

According to a Record World article in March, 1975, the King Davis House Rockers begat The Madison Street Express which begat Brothers Trucking which begat B.T. Express. At the time the group consisted of Rich Thompson on lead guitar and Bill Risbrook on tenor saxophone who were the nucleus of King House Rockers. Also in the group were Louis Risbrook on bass who was the brother of Bill on solo flute, alto sax, piccolo and clarinet. There was also Olando T. Woods on drums and singer Barbara Joyce Lomas. The latest member was Dennis Rowe on congas. Carlos Wards who was born in Panama had played with The John Coltrane Octet, Don Cherry, Pharoah Sanders, and McCoy Tyner.[2] Barbara Joyce Lomas who came from Alabama had been with the Uptights and sang on their single, "Free At Last" b/w "You Git’s None Of This", released on Skye Records
Beginnings

The group was part of the "Brooklyn sound" of the early 1970s, formed from three players of the group King Davis House Rockers. The House Rockers were a local dance band who had released a couple of obscure singles (1967's "We All Make Mistakes Sometimes" on Verve Records, 1972's "Rum Punch")

The single, "Baby You Satisfy Me" b/w "We All Make Mistakes Sometimes" was credited to King Davis House Rockers featuring Richard Thomas, and was released on Verve VK 10492 in February 1967. In 1969, the King Davis produced "What Do I Have To Do" b/w "We All Make Mistakes Sometimes", credited to Rick Thompson was released on Columbia 4-44880. There was also a single by The Visitors, "Holiday in Love" b/w "Rum Punch" which was released on Airways LK-2000. It was composed by L. Risbrook, C. Ward and C. Stephenson. It was co-produced by Stephenson and King Davis.[ It was also released on Straker's Records S-0046 with "Rum Punch" as the A side.[


The three players (guitarist Richard Thompson, tenor sax player Bill Risbrook, and alto sax player Carlos Ward) formed Madison Street Express along with bassist Louis Risbrook (later Muslim-monickered Jamal Rasool), percussionist Dennis Rowe, drummer Terrell Wood, and vocalist Barbara Wood.
Career

The members of Madison Street Express along with producer Jeff Lane signed with production company Roadshow Records to record writer Billy Nichols "Do It ('Til You're Satisfied)". The record was shopped around to major labels until it was accepted at Scepter Records. Scepter suggested the group change its name from Madison Street Express, hence the Brooklyn Transit Express. The single was released in August 1974, and reached the top 10. Lane took the group back into the studios at that point to record a second single and pitch a full album to the label. Scepter agreed to the LP and to Roadshow Records having its own label within Scepter Records.

The first two singles were hits, both number 1 R&B releases and both Top 5 pop singles in the US. The album hit number 1 on the R&B album chart and number 5 on the Pop album chart of the US. These recordings were also hits in the spreading disco culture, "Do It" peaking on club playlists before Billboard started a separate disco chart, but the follow-up single sat for five weeks at number 1. They were certified gold releases.

BT Express released an album per year through 1978. With the third album, Leslie Ming was brought in as drummer and Michael Jones was added as keyboardist. Jamal, who had converted to Islam, gave Jones the name Kashif Saleem, which he used after departing the group, in 1979, to pursue producing ("Mighty M Productions" with Morrie Brown and Paul Laurence Jones) and solo recording ventures. That year songwriter Billy Nichols and drummer Leslie Ming also departed the group. In 1976 Scepter records was experiencing business difficulties that soon ended the company, and BT Express was given a distribution deal with Columbia Records, which, though it gave them greater exposure, resulted in less attention being paid to their production, since they had so many acts to concentrate on. The group did not achieve the level of radio or sales success on Columbia that they had on the more nurturing but by-then defunct Scepter. They stayed with Columbia for five years, with Lane producing through 1978, then Nichols producing their fifth album before he departed for solo work, and Morrie Brown producing the sixth LP and several follow-up tracks. The group switched labels to Coast To Coast Records for the 1982 LP, to Earthtone Records for a later 1982 single, and to manager King Davis' own label in 1985.

Michael Jones, later known as Kashif died at his home in the Playa del Rey neighborhood of Los Angeles, on September 25, 2016, at age 59.
Members



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Do It ('Til You're Satisfied) features two million sellers by the New York natives; the title track and "Express" are funky, irresistible disco gems. Produced by Jeff Lane and mixed by Tom Moulton, the two dancefloor classics features hypnotic basslines, handclaps on alternate beats, and the coolest congas on the planet, all combined with masterfully mixed guitars, saxophones, flutes, strings, Barbara Joyce Lomas' blaring lead, Louis Risbrooks' bass vocal retorts, and Richard Thompson's support vocals. Lane was never able to repeat the tightness of the two tracks on subsequent albums or even on this one. "If I Don't Turn You On" and "Do You Like It" come close, but "Once You Get It," "Do It," "This House Is Smoking," and "Mental Telepathy" do not. Good, because of the two classics, but a greatest-hits collection would be even better.



<a href="https://multiup.org/ee0280f9faecda458d7fb32f7622cffd">   B.T. Express ‎– Do It ('Til You're Satisfied)   </a> (flac   264mb)

01 Express 5:05
02 It  Don't Turn You On (You Ought To Leave It Alone) 4:39
03 Once You Get It 3:17
04 Everything Good To Ya (Ain't Always Good For Ya) 2:59
05 Mental Telepathy 4:01
06 Do It Til You're Satisfied 5:51
07 Do You Like It 5:05
08 That's What I Want For You Baby 5:23
09 This House Is Smokin 2:14

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When one thinks of the cultural contributions that Brooklyn's African-American neighborhoods made in the 1980s and 1990s, the people who immediately come to mind range from director Spike Lee to major rappers (the Fat Boys, Big Daddy Kane, MC Lyte, Biz Markie, among many others) to soul/urban contemporary singer James "D-Train" Williams. But back in the 1970s, Brooklyn was known for its disco-minded brand of funk. Brooklyn funk wasn't the kind of hardcore funk that you expected from James Brown, George Clinton's P-funk empire (Parliament/Funkadelic, Bootsy Collins, the Brides of Funkenstein, etc.), the Gap Band, Rick James, or the Ohio Players -- it was funk-disco, and Brooklyn outfits like B.T. Express, the Crown Heights Affair, and Skyy were huge in the clubs (especially black clubs). When B.T. Express' second album, Non-Stop, came out in 1975, Scepter assumed that it would fare well in dance clubs -- and sure enough, club DJs went wild over this record. However, Non-Stop contained some major radio hits as well, including "Peace Pipe" and "Give It What You Got" (both of which reached number five on Billboard's R&B singles chart). Meanwhile, "Still Good, Still Like It" and "Discotizer" are among that tracks that weren't big radio hits but grabbed the attention of club jocks. The LP's only ballad is a cover of the Burt Bacharach/Hal David favorite "Close to You"; although B.T. Express' version is pleasant enough, the fact remains that romantic ballads were never its strong point. Up-tempo material is what defines Non-Stop and makes it one of the band's finest, most essential albums.

<a href="https://mir.cr/18ZBEBVO"> B.T. Express ‎– Non-Stop</a> (flac   260mb)

01 Peace Pipe 6:04
02 Give It What You Got 4:19
03 Discotizer 3:28
04 Still Good - Still Like It 4:28
05 Close to You 5:37
06 You Got It - I Want It 5:25
07 Devil's Workshop 4:00
08 Happiness 3:38
10 Whatcha Think About That? 4:05

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B.T. Express' third album, Energy to Burn, marked two firsts for the Brooklyn residents: It was their first album for Columbia, and it marked the arrival of keyboardist Michael Jones, aka Kashif. Not that Kashif's arrival was a major event for R&B fans of 1976, the year in which this album came out. It wasn't until 1981, when Kashif wrote "I'm in Love" for Evelyn "Champagne" King, that he became famous as a producer/songwriter -- and his first solo album didn't come out until 1983. Besides, Energy to Burn (which was lead singer Barbara Joyce's last album with B.T. Express) doesn't sound anything like the smooth, sophisticated urban contemporary that Kashif wrote or produced for King, George Benson, Howard Johnson, Melba Moore, and others in the early 1980s; this LP is state-of-the-art B.T. Express. Although the band's work was uneven in the late 1970s and early 1980s, Energy to Burn is generally excellent. Those who had grooved to B.T. Express' two previous albums weren't disappointed by hypnotic funk-disco smokers like "Can't Stop Groovin' Now," "Wanna Do It Some More" (which reached number six on Billboard's R&B singles charts), "Depend on Yourself," and the title song (which was only a number 37 R&B hit but was a favorite in clubs). One of the album's most unorthodox tracks is "Herbs," an instrumental that successfully fuses B.T. Express' trademark funk-disco sound with the sort of sweet reggae that prevailed in Jamaica during the rocksteady era. And not surprisingly, the album's least inspired track is a cover of Gamble and Huff's "Now That We've Found Love" -- romantic ballads and slow jams were never B.T. Express' strong point. But other than that, Energy to Burn is one of the band's strongest albums.


                                             
<a href="https://www.imagenetz.de/QdYNu"> BT  Express - Energy to Burn</a> (flac   261mb)

01 Black Bug 3:39
02 Bear Walk 3:49
03 Coquette 3:06
04 Hippo-tize Me 6:21
05 Owl Train 4:22
06 Go-go Rilla 3:01
07 Crime Squid 3:37
08 Peacock Steady 3:24
09 Gnu York 5:46
10 Silent Eel 3:07
11 Voodoo Kangaroo 3:26
12 Brave Snail (Bonus Track) 7:05
13 Disco-tize Me (Bonus Track) 3:55

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When lead vocalist Barbara Joyce left B.T. Express after its third album, Energy to Burn, the Brooklyn combo didn't search for another female singer -- instead, it decided to carry on as an all-male outfit. Joyce was an appealing, talented singer, but losing her was hardly a fatal blow for B.T. Express. Unlike the Commodores, L.T.D., or Earth, Wind & Fire, B.T. Express never went out of its way to push a superstar vocalist -- its 1970s albums were about the overall sound of the band, not any particular singer. Function at the Junction was B.T. Express' first post-Joyce LP, but it isn't much different from the New Yorkers' three previous albums. With Jeff Lane (the guy who produced Brass Construction in the 1970s) producing, B.T. Express continue to mine the same funk-disco waters on club-friendly tracks like "Expose Yourself," "We Got It Together," and "Funky Music." Overall, this is a decent record, although it is mildly uneven and falls short of the excellence of B.T. Express' previous releases. And that isn't because of Joyce's departure; Columbia was bringing in more and more outside songwriters, which made its post-1976 albums inconsistent and less focused. Columbia assumed that those outside songwriters would be an asset, but they turned out to be something of a distraction. Nonetheless, Function at the Junction has more pluses than minuses, and is worth hearing if you're among B.T. Express' hardcore fans.



<a href="https://multiup.org/ffd309b0d994e72d582ba402d8158e3e"> BT  Express - Function at the Junction </a> (flac   255mb)

01 Funky Music 4:23
02 Expose Yourself 3:55
03 Scratch My Itch 4:00
04 Eyes 3:56
05 We Got It Together 3:49
06 Sunshine 4:13
07 The Door to My Mind 3:33
08 Star Gazer 3:08
09 How Big Can You Dream 3:39


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