That track is one of many at Groove of the Day Radio, an internet radio station I built to do one thing: play the greatest disco, funk, soul, and boogie ever recorded — and treat every single track like it matters.

What GOTD Radio Actually Is

GOTD Radio streams 24/7 at gotd-radio.com. No ads. No algorithms. No “Up Next: something you already know.” Just a hand-picked, ever-growing library spanning 1973 to today — disco, funk, soul, post-disco/boogie, jazz-funk, city pop, Italo-disco, and a few modern artists carrying the torch.

Dozens of new tracks are added every week, and a proper programming schedule is coming soon. If you already follow @groove_of_the_day on Instagram, you know the vibe. The station is the sonic extension of that page — the same curatorial obsession, now running continuously in your ears.

Why This Exists

Most “disco” or “funk” playlists give you the same 40 tracks on rotation. You know the ones. And those tracks are great — they’re in the library too. But they’re sitting next to things you simply will not find on Spotify, Apple Music, or any other streaming platform. Rare and out-of-print 12” versions. Private presses that were never digitized. Deep cuts from sessions that history forgot.

Flight’s “Flying High” — a self-released 7” from 1981 that sells for $600 when you can find it. Spectrum’s “Loved By You” — a 1977 private press so rare it has never sold on Discogs; 8 people own it, 257 want it. Conrad Benjamin’s “Saturn” — a jazz-funk holy grail out of Toronto, $350 median, nearly impossible to track down. These aren’t on your streaming platform. They’re on GOTD Radio.

That’s the point. The familiar and the forgotten, side by side, because they belong together. Chic into Conrad Benjamin. Donna Summer into Ethel Beatty. The Isley Brothers into Kiki Gyan, who was called “Africa’s answer to Stevie Wonder” and ranked the 8th greatest keyboardist in the world before he turned 21.

The Curation Goes Deep

Every track in the library has been individually verified against Discogs — not at the album level, at the track level. Label, year, producer, writer, remixer. If Rod Temperton wrote it, that’s confirmed for the specific song, not assumed because it’s on the same album as something he did write. If a track has been sampled more than 10 times, that’s documented. If it came off a specific pressing on a specific sub-label, that’s in the database.

This isn’t a playlist someone threw together on a lunch break. It’s a living library with the metadata to back up every choice — and it’s growing every week.

What You’ll Hear

The core era is 1973–1985 — the golden age of the groove. But the library isn’t trapped in amber. Modern artists like Tuxedo, Parcels, Roosevelt, and Franc Moody sit comfortably alongside the classics because the sensibility is the same: musicianship, groove, and feel over everything.

On any given hour, you might hear a Salsoul orchestra arrangement glide into a Larry Levan mix, then a deep Philly International cut, then something from a Japanese city pop session, then a Patrick Adams production that samples have been mined from for 40 years. You’ll hear extended 12” mixes that never made it to digital — the versions that were made for the dancefloor and have lived on wax ever since. The connections between tracks — the producers, the session musicians, the labels, the studios — are what make the station feel like more than just a sequence of songs.

Some Stories From the Library

Part of what makes this music endlessly interesting is the backstory. A few favorites:

Spookey’s “Friends” features Marvin Gaye on vocals — recorded during his self-imposed exile in Europe, when he was living in Belgium and barely anyone knew where he was.

Fantasy’s “You’re Too Late” hit #1 on the disco chart with Fonda Rae and Norma Jean Wright — the original lead singer of Chic before Alfa Anderson — sharing vocal duties.

Gwen Guthrie’s “It Should Have Been You” was produced by Sly & Robbie and mixed by Larry Levan. A reggae rhythm section, a Paradise Garage legend behind the board, and one of the most beautiful dance records ever made.

The Isley Brothers’ “Footsteps in the Dark” has been sampled over 100 times — most famously by Ice Cube for “It Was A Good Day” — but the original is a late-night slow burn that no sample has ever fully captured.

Ojiji was the stage name of Rupert Harvey, a Jamaican-Canadian musician who went on to found Messenjah and was a member of Crack of Dawn, the first all-Black Canadian band signed to a major label.

These aren’t footnotes. They’re the reason the music still matters.

How to Listen

Stream directly: gotd-radio.com

The station runs ad-free on Live365. You can also add it to Roon as a custom internet radio station if that’s your setup. No account needed, no paywall, no interruptions. Just press play.

The Invitation

If you’ve ever fallen down a rabbit hole reading liner notes, if you’ve ever Shazammed something in a restaurant and spent the next hour on Discogs, if you care about who played Rhodes on the session and which studio the strings were tracked at — this station was built for you.

And if you just want to hear great music without thinking about any of that, it was built for you too.

Listen now at gotd-radio.com

Follow the daily picks on Instagram: @groove_of_the_day

Groove of the Day Radio — every track verified, every one chosen. No ads. No algorithm. Just the groove.

Sister Sledge formed in Philadelphia in the early 1970s, featuring sisters Debbie, Joni, Kim, and Kathy Sledge, and initially recorded for Money Back and then Atco (an Atlantic subsidiary). Early releases like “Time Will Tell” and “Mama Never Told Me,”

On We Are Family, “Lost in Music” is sequenced as the second track, following “He’s the Greatest Dancer” and preceding “Somebody Loves Me” and “Thinking of You.” The album credits list Rodgers (guitar) and Edwards (bass) alongside Tony Thompson (drums), Robert Sabino (piano, clavinet), Raymond Jones (keyboards, Rhodes), Andy Schwartz (piano), and a horn section including Jon Faddis, Ellen Seeling, and Barry Rogers, with percussion by Sammy Figueroa—the same core team that defined the late-’70s Chic Organization sound. Lead vocals on “Lost in Music” are handled by Joni Sledge, with the other sisters providing backing vocals. Lyrically, the song centers on the idea of leaving everyday obligations for the immersive space of the dancefloor, a theme aligned with the disco era’s focus on nightlife and club culture, and its arrangement—steady four-on-the-floor pulse, syncopated bass line, rhythm guitar figures, and string/horn accents—matches the production style Rodgers and Edwards developed across the album. Over time, “Lost in Music” has also become a sample source and remix platform, with documented use in more than a dozen sampled tracks and multiple official remixes, including high-profile versions by Dimitri From Paris and others.along with the albums Circle of Love (1975) and Together (1977), established them on the R&B and dance charts but stopped short of a major commercial breakthrough. In 1978 Atlantic paired the group with Chic’s Nile Rodgers and Bernard Edwards, who wrote and produced their entire We Are Family album, recorded at Power Station between August and November 1978. The resulting 1979 singles “He’s the Greatest Dancer” and “We Are Family” both reached the U.S. Top 10 and topped the Hot Soul Singles and National Disco Action charts, giving the group multi-format visibility and setting the stage for “Lost in Music” as a follow-up single from the same project.

The parent album We Are Family peaked at No. 3 on the Billboard 200, topped the Top Soul LPs chart, and was certified platinum in the U.S., becoming Sister Sledge’s commercial breakthrough and one of the central releases in the late-’70s disco catalogue. Following “Lost in Music,” the group continued working with Rodgers and Edwards on the 1980 album Love Somebody Today, which produced further R&B hits such as “Got to Love Somebody,” and then scored with “All American Girls” in 1981 and the UK No. 1 single “Frankie” in 1985. In parallel, the 1984 and 1993 remixes of “Lost in Music” returned the track to the UK Top 20 and kept the song active in European club culture well into the 1990s. Sister Sledge’s later recognition—including induction into the Philadelphia Music Alliance Walk of Fame (2017) and recurring use of their catalogue in compilations, remixes, and live sets—has consistently highlighted “Lost in Music” alongside “We Are Family” and “He’s the Greatest Dancer” as one of the key recordings in their discography.

By the time “My Forbidden Lover” appeared, Chic had already become one of the defining acts of the late-1970s disco era. Formed in New York City in the mid-1970s by guitarist Nile Rodgers and bassist Bernard Edwards, the band first broke through with “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)” in 1977, followed by “Everybody Dance” and a self-titled debut album on Atlantic. Their second album C’est Chic (1978) produced the global hit “Le Freak”, which topped the Billboard Hot 100 and became Atlantic’s best-selling single at the time, as well as “I Want Your Love,” another major club and chart success. By 1979, Rodgers and Edwards were also in demand as outside producers and writers, operating as The Chic Organization and crafting the Sister Sledge album We Are Family, which yielded hits like “He’s the Greatest Dancer,” “Lost in Music” and the title track. “My Forbidden Lover” arrives in this peak period, immediately after the success of “Good Times,” which had reached No. 1 on the Hot 100 in August 1979.

On Risqué, “My Forbidden Lover” opens side B, followed by “Can’t Stand to Love You,” “Will You Cry (When You Hear This Song)” and “What About Me,” rounding out a seven-track LP that also includes “Good Times,” “A Warm Summer Night” and “My Feet Keep Dancing.” The album was produced by Edwards and Rodgers at Power Station and is generally categorized as disco/soul/funk, with reviewers and later histories describing it as one of the key records of the disco era. Session credits for “My Forbidden Lover” list Edwards on bass, Rodgers on guitar, Tony Thompson on drums, multiple keyboardists including Andy Schwartz, Raymond Jones and Robert Sabino, percussion by Sammy Figueroa, and a vocal team including Alfa Anderson, Luci Martin, Fonzi Thornton and others, with Gene Orloff handling string arrangements. The song’s tightly locked rhythm section and synth-string hook later made it a frequent sample source: its backing track underpins Nerio’s Dubwork’s “Sunshine and Happiness,” Alcazar’s “Sexual Guarantee,” Luther Vandross’ “Shine” (and Booty Luv’s cover), Darryl Pandy’s “Sunshine & Happiness,” and Black Eyed Peas’ “Fashion Beats,” with early work by deadmau5 also documented as sampling it.

Commercially, Risqué gave Chic another strong album run: it reached No. 5 on the Billboard 200, No. 2 on the U.S. R&B albums chart, and was certified Platinum by the RIAA for U.S. sales over one million; in the UK it peaked at No. 29 and earned a Silver certification. The singles “Good Times,” “My Forbidden Lover” and “My Feet Keep Dancing” all charted in the U.S. and Europe, with “Good Times” in particular becoming one of the most influential tracks in pop and early hip-hop. After Risqué, Chic moved into the 1980s with albums such as Real People and Take It Off, while Rodgers and Edwards intensified their external production work, including major projects for Diana Ross, Sister Sledge, David Bowie and others. In later retrospectives, “My Forbidden Lover” is regularly listed alongside “Le Freak,” “Good Times” and “I Want Your Love” as one of the core Chic recordings—less ubiquitous than the biggest hits, but central to how the band’s late-’70s sound is remembered and frequently revisited through sampling, remixes and reissues.

The problem is, that history isn’t easy to access. Billboard’s own archive is fragmented. The data is scattered across old publications, collector sites, and paywalled databases. If you wanted to know what the R&B chart looked like the week “Don’t Leave Me This Way” hit its peak, or trace how a record climbed week by week from #87 to #1, you’d be digging through a patchwork of sources — if you could find it at all.

That’s why we built Chart Vault.

Chart Vault is an interactive archive of complete weekly Billboard charts spanning decades of music history. We’re talking full weekly charts — not just the #1s, not just the Top 40, but every position, every week. Right now, Chart Vault includes the Hot 100, R&B/Soul Singles, Dance/Disco, Cash Box Top 100, UK Singles, and more, with additional charts being added over time.

Here’s what you can do with it:

Browse any week. Pull up the complete chart for any week in the archive. See every song, every position, in the order they appeared.

Search by song or artist. Look up any track and get the full picture — peak position, weeks on chart, debut date, label, and how it performed across multiple charts.

Follow the chart run. This is the one that gets people. You can trace a song’s entire journey week by week — watching it debut, climb, peak, and eventually fall off. You see the full life of a record, not just a snapshot.

Cross-chart comparison. A song might have peaked at #9 on R&B but hit #1 on 12-inch Singles Sales and #4 on Hot Rap. Chart Vault shows you the complete picture across every chart the song appeared on, plus RIAA certification data when available.

We built this because the music we cover — disco, post-disco, boogie, soul, funk — deserves to have its chart history preserved and accessible. Not locked away. Not incomplete. Not forgotten. These songs shaped entire genres, launched careers, and soundtracked generations. The least we can do is make it easy to explore that legacy.

Now here’s where you come in.

We’re beta testing Chart Vault right now, and we want you in on it. It’s free to access — just head to the link and start exploring. Click around. Look up your favorite songs. Browse a random week from 1978. Try to break it.

And then tell us what you think. What’s working? What’s confusing? What do you wish it could do? Your feedback is going to shape what this becomes. We’re building this for the community, and we want it to reflect what the community actually wants.

Chart Vault is live now. Go dig in. -

https://tallguy001.github.io/