Choons
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CHOONS explores the legacy of music's most underrated anthems with the people who made them possible.
’s first single with was the steamy “Do You Want The Real Thing,” produced by Bob Esty and included in the soundtrack to the movie “Thank God It’s Friday.” The album was released a few months before his third LP “Confessions” hit the shelves, peaking at number 12 on ’s Disco chart on the strength of its lead track, “Let Them Dance.”
D.C. recorded two more albums for Casablanca, 1979’s “Forces of The Night,” and 1980’s “Star, Baby”, where he reunited with “Cathedrals” producer Aram Schefrin for a more New Wave/Rock kind of sound.
28/05/2026
After his first try in the music biz fizzled out, put his singing ambitions on hold and embarked on a new career a a graphic designer in New York, creating art for music sheets, song folios, album covers and trade ads for and Cashbox Magazine.
In the mid 70s, D.C. found himself on the verge of stardom with sweet and sensitive music that fit right in with the singer/songwriter style of artists such as , and .
To this day, D.C. feels extremely proud of songs like “Honey Bear,” “Cold in Oscoda” and “Better Get Back”, all of which can be found on “The Early Recordings 1961-1975,” a compilation he personally put together. “I felt it was me in my prime,” he shared on our episode. “It came out on Kirchner Records, and they were crazy. I was gonna be the next Neil Sedaka, the next Elton John, which has always been a problem. They really liked the records, and I loved them. At that point, I thought they were the best records I had ever made in my life.”
Unfortunately, Wally Gold—then producer and agent for Kirchner Records—told him they’d be switching distributors and had to pull the plug on promoting his singles, a decision that prompted D.C. to consider leaving the music industry for good. That is, of course, until a trip to the discos changed everything.
26/11/2025
After the crushing disappointment of not being able to release sensitive songs like “Honey Bear,” “Better Get Back” and “Cold in Oscoda”, swore he’d never make another record again, choosing to plunge into his already lucrative graphic work instead.
That is until he stepped into the legendary 12 West nightclub in New York City and heard the sensual voice of the almighty queen of Disco, , singing her first big hit “Love To Love You Baby.”
“I was with one of my friends and turned to say ‘I know I said I’d never record or write again but I wanna make a record like THIS now’,” he recalled.
Since then, D.C. has credited his label mate for inspiring him to create his 1976 classic “Cathedrals,” and write music from an authentic point of view.
Learn more about the making of “Cathedrals” and its enduring legacy in our latest episode, available NOW wherever you get your podcast.
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19/11/2025
“From love to lust, and back to love…”
Season 3 continues NOV 26 with a special treat for you all: an exclusive interview with one of Disco music’s most unsung heroes, , and the story behind his classic 1976 dance floor stomper, “Cathedrals”.
More than half a century ago, a cultural and societal movement took root in the streets of New York City. Driven by the post-Stonewall sexual revolution, and the masterful work of DJs spinning the latest R&B cuts, people flocked to the clubs in search of their tribe, and live out an almost religious experience.
D.C LaRue, by then a seasoned singer and songwriter, was a witness to this phenomenon, and encapsulated all of his thoughts on a song that, since its original release, has become a perennial favorite in dance halls all over the world. The enduring legacy of “Cathedrals” is only a part of a long career that saw D.C. bouncing from record label to record label in his early years, ditching music to delve in other creative outlets, tapping into what was happening around him, being discovered by newer generations and, ultimately, enjoying his rightful place as a true Disco legend.