Daily News from New York, New York • 225

TOP OF POP JUI J7 "Moire, More, More': a Trye story Jf fey- At' -''''''if-V By STEVEN GAINES TT WAS inevitable, I suppose, that porn and disco should hit it off so well together. When disco dancing first started dislocating spines in this country more than a decade ago, guardians of public morality shrilly denounced it as ex-hibitionistic sexual release. Well, here it is 1976 and not only is disco dancing openly and sometimes exuberantly sexual, but the number one song in the U.S.A. is the disco soundtrack of a porn movie, sung by one of the porn industries leading actresses. The song, More, More," is one of those big disco singles that always seem to hit the top of the charts at this time of year and then linger endlessly there till fall.

Written by Gregg Diamond and sung by Andrea True who had never recorded before "More, More, More'' will receive a gold record this week certifying its millionth sale. What makes "More, More, More" so hot? Well, the music is catchy and has a strong hook, although it's nothing extra special, and Andrea True's performance is aimiable at best. The lyrics ask the eternal question: "How do you like it?" To which True responds, "More, More, More." It's as simple as that. Of course, songs with sexual themes a lot more blatant than "More, More, More" have already been big hits. Another chart song at the moment, "Disco Lady," which is also played constantly over New York radio, has lyrics that are too blue to print here.

Last winter Donna Summer drove the point home ad naaseum with her 18 minutes sex ode, "Love To Love You Baby," in which she managed to groan, moan and orgasm with the title phrase over 120 times in a few short minutes. The early years Our present disco queen, Andrea True, is a not-surprisingly well-endowed blonde actress who gives her age as "26 with a bullet" but who actually hovers around Born and raised in Nashville, she has a bachelor of science degree in music. True came to New Yoik in 1968, studied acting for a while and 'eventually met other actors on the porn circuit, including Marilyn Chambers and Tina Russell, whom she dismisses as talentless. She appeared as an extra in egitimar. films shot in New York like "The Way We Were" and "40 Karats," but as the old story goes, couldn't make ends meet.

In 1972 True made her buff debut in "Illusions of a Lady." "It was a big decision," she notes in a voice that makes Sylvia Miles' sound soprano. "I was afraid if I made a porn film casting agents would say, 'We don't want her, she's a porn Of course, I was right. But the porn makers said to me, 'Come on, kid, we can make you a big They made her a big star, all right, to the tune ot a picture a few times a year. Not only couldn't she get legit work, but there weren't even enough porno films around worth doing. "When I pointed out to the people making the films that they were grossing millions and the actors were starving, they said tit if I got part of the profits it would make me liable to federal prosecution for So she decided to Jtli the way and produced and directed her own porno film, the first made ly a woman, "Once Over Lightly." True is no I.ina Wertmuller, and by last fall she was out of work.

She made her way to Jamaica to appear in her first above-ground film, a commercial for an industrial land developer. When the project was finished, she tried to leave the country with, her salary but a recent Jamaican law forbade taking money out of the country. Always resourceful, True decided that if she couldn't take the money out with her, she'd put it to good use down them. She called Gregg Diamond, a producer and musician whose path she had crossed in New York, and asked him to fly down to Jamaica to record with her. Diamond arrived with a ready-made project, a tape of a 15 minute music score that he had written for a porn movie called "The Kirn Streets." Produced by Diamond's old brother, Jack Doroshow, who made the award winning movie "The Queen" some years back, "The Kim Streets" was a satire on bisexual morality in the country club set-The song "More, More, More" choreographed an orgy segment involving tra.isvestites that culminated in incest.

Diamond wrote lyrics and recorded a six-minute version with True. "I figured the customs agents in Jamaica weren't as hip to the value of a piece of tape and we managed to get it out of there," True explained. "We took it to Philadelphia to mix it and Buddah Records put it out as a single." Rating game Gregg Diamond, a bright, flip, fast-talking 27-year-old, gives his explanation for the song's great popularity: "Kverybody has a trip. There's a financial trip and a spiritual trip and a physical trip. Dancing is a physical trip.

No matter how your mind works, if you're an IBM computer and can think in microseconds or if your mind is like the La Brea Tar Tits, thick and murky, you still like to dance. The mot simple-minded people like to dance because anybody can respond viscerally to the backbeat. That's why this song works. Do you remember those people who used to call into the radio stations to rate nons and what they said? 'This is Cindy from Brooklyn and I give it a 10 because it's got a beat and you can dance to Since Diamond seems to have found the magic formula, he was quickly signed by George McOne and giant disco star Gloria Gaynor to produce their next albums. "For more intellectual people, disco dancing is just a social scene," Diamond postulate.

"Kvery decade managers to musically mirror what's happening internally to the people. In the '60s live music was the big very loud, so people could blow their eardrums. In the "70s the big tiling i recorded music, where people like to beat their feet and get drunk and stoned and fall on the floor. "Of course they're suggestive," says Diamond of the lyrics to "More, More, More." "And they're playing it on the radio anyhow. You know what 1 slid one in under the door, but don't tell anybody.

You can really say anything in a song if you say it right. And if you're going to hold an orny, why not have a million people in on -r r. 7K7 ANDREA TRUE: She smuggled out the tape. 4S 4 Vy Higginsen. WRVR I've lost interest in big concerts.

They" always start late, and it's very hard to plan an evening. Nine times out of 10 while you're sitting and waiting, a guy's out there "Testing! Testing!" driving you nuts. When 'they finally get the sound together, it's not really together. I left the Al Green concert for that reason. But.

by the same toktn, whoever did the sound for Diana Koss whether you love her or hate her it was impeccable. I've worked big concerts as m.c. and backstage people jut don't seem to care. It's like "So what?" It's frustrating. I prefer smaller concerts smaller audiences.

Tip" tTs THE RECORD By Ernest Leogrcmde THE QUESTION What do you suggest for Improving concert conditions? Bruce Fox Vin Scelsa Vy Higginsen Bruce Fox. WKTU-FM I would like to see more people from the audience's peer group used to control crowds. Unfortunately, police or guards protecting performers from the crowd create a rivalry. This peer group would be able to understand that they are dealing with people who are out to have a good time and have paid a lot of money for their tickets and could speak to them at their Also, I wish promoters could devise a foolproof method of countering phony tickets. It's a big problem, I know, and maybe it can't be solved.

Outdoor concerts have gotten better, but they still need more toilets and fresh water. Another problem concerns the gaps in rock concerts, which contribute to restlessness. A promoter ought to be a showman too and tie in opening acts with the main program some way to avoid those gaps. Vir. Scelsa.

WNEW-FM I have said on the air that nobody should go to large concerts any more because basically in Madison Square Garden, Nassau Coliseum, Roosevelt Stadium there is no way to control them. The very nature of the beast leads to disorder the lack of security, the lack of facilities, the failure to control throwing of firecrackers, the fact that aisles are so crowded that you can't leave. Boycott them all until the monster dies, and becomes human attain. The only way to change it would be to destroy it and start over ta'n 1 "Hl'Vf.