12-Inch Singles, Record Pools and Clubs
The music industry expanded its validation of Disco in 1976. The 12-inch single made its first commercial appearance, and record pools were developed as a means for record labels to distribute music directly to club DJs. In addition, the proliferation of nightclubs devoted specifically to Disco music and dancing continued to accelerate.
As with many innovations, the development of the 12-inch single occurred by accident. Tom Moulton was planning to create a master disc for one of his extended mixes, but no 7-inch blank discs were available. Cutting the mix to a 12-inch disc was suggested. The result spread out the grooves and increased the volume. DJs that heard the difference were pleased and 12-inch singles were on their way with wider grooves better able to intensify the highs and lows inherent in the original recordings
In the spring of 1976 Salsoul Records decided to commercially release a 12-inch single of an over nine minute version of Ten Percent, a single by the group Double Exposure. The response from DJs and audiences in clubs was instantly favorable. Scepter Records then rush-released a 12-inch single of Nice and Slow by Jesse Green. By the end of the year 12-inch singles were a common format for the release of Dance music.
During the summer of 1975 a group of some of the most influential Disco DJs in New York City banded together to form a group called the New York Record Pool. This pool of prominent DJs provided a venue for distribution of new Disco records from the record labels to DJs working in the clubs. Ironing out potential conflicts between DJs and the labels did not happen over night, but by 1976 the idea had spread and record pools were forming in major cities across the country.
While Disco clubs were becoming common across the country, the most prominent clubs continued to be those located in New York City. David Mancuso's legendary Loft had closed its Broadway location and then reopened on Prince Street near the end of 1975. Installation of new, state-of-the-art sound equipment led to its ascendance once again into the company of other elite clubs. In the spring of 1976 Infinity began to take over from Le Jardin as the key club at which to see and be seen. The coming opulence of some clubs was foreshadowed by Enchanted Garden, a recreation of tropical paradise profiled in Newsweek magazine's cover story on Disco in November, 1976.
1976 was also the year of a tremendous crop of classic Disco recordings. Diana Ross embraced Disco on the gorgeous Love Hangover. Vicki Sue Robinson's Turn the Beat Around featured an intense, thrilling percussion workout. The Andrea True Connection's More More More oozed the erotic atmosphere of Andrea True's previous career in adult films, and the year ended with the appearance of the Trammps searing tale of a Disco Inferno.