KC and the Sunshine Band -

KC and the Sunshine Band were an American group formed in Hialeah, Florida, by keyboardist and singer Harry Wayne Casey and bassist, percussionist, and engineer Richard Finch. The pair developed the group inside the TK Records studio operation and drew its personnel from the label’s Miami session pool.

Casey and Finch directed the group through ten studio albums between 1974 and 1983. Their partnership also generated recordings for George McCrae, Jimmy “Bo” Horne, and other TK-affiliated singers. Five KC and the Sunshine Band singles reached No. 1 on the Billboard Hot 100 between 1975 and 1980.

Members: Harry Wayne Casey (keyboards, vocals), Richard Finch (bass, drums, percussion), Jerome Smith (guitar), Robert Johnson (drums), Fermin Goytisolo (percussion), Ken Faulk (trumpet), Vinnie Tanno (trumpet), Mike Lewis (tenor saxophone), Whit Sidener (baritone saxophone), Beverly Champion (backing vocals), Margaret Reynolds (backing vocals), Jeanette Williams (backing vocals)

Background

Harry Wayne Casey was born January 31, 1951, in Hialeah, Florida. He worked at a record store before joining Tone Distributors, the warehouse and distribution business connected with TK Records. His duties covered shipping, returns, and reception work, while occasional keyboard assignments brought him into the company studio.

Richard Raymond Finch was born January 23, 1954, in Indianapolis and grew up in Hialeah. He learned bass as a teenager and developed an interest in electronics while working at an Opa-locka record and equipment store. Singer-songwriter Clarence Reid introduced Finch to the TK operation, where he entered the control room as a teenage engineer.

Casey met Finch at the TK studio above the Tone Distributors warehouse. The two combined Casey’s keyboard ideas with Finch’s engineering skills and access to local session players. Guitarist Jerome Smith and drummer Robert Johnson joined from the TK studio circle. Percussionist Fermin Goytisolo and a regular horn section expanded the recordings.

The first releases used the name KC and the Sunshine Junkanoo Band, a reference to the Miami Junkanoo musicians heard on the early sessions. TK issued “Blow Your Whistle” in August 1973 and “Sound Your Funky Horn” that December. Casey and Finch completed the backing track for George McCrae’s “Rock Your Baby” in the same period, with Finch on bass and Smith on guitar. McCrae added his lead part, and the finished 1974 recording reached No. 1 in the United States and United Kingdom.

Do It Good

KC and the Sunshine Band released their debut album, Do It Good, in April 1974 on TK Records.

Casey fronts the expanded studio group established on the first singles. Finch anchors the sessions on bass and percussion, with guitarist Jerome Smith, drummer Robert Johnson, and percussionists Oliver Brown and Fermin Goytisolo in the remaining rhythm roles. Four horn players and three backing singers complete the principal configuration, while Jimmy “Bo” Horne, George McCrae, Gwen McCrae, and Betty Wright appear on selected tracks.

Casey wrote five tracks alone and shared the remaining four with Wright, Clarence Reid, or Willie Clarke. “I’m a Pushover” swings through tightly wound syncopation, a contoured lead, one-word chants, quick group replies, and interwoven guitar figures.

A1. “Do It Good” (2:25) – Casey, Wright
A2. “Sound Your Funky Horn” (2:59) – Casey, Reid
A3. “Baby I Want Your Lovin’” (3:30) – Casey, Clarke
A4. “Queen of Clubs” (3:15) – Casey, Clarke
A5. “Blow Your Whistle” (2:35) – Casey

B1. “I’m a Pushover” (3:45) – Casey
B2. “You Don’t Know” (2:30) – Casey
B3. “I Need a Little Lovin’” (2:25) – Casey
B4. “All My Love” (4:25) – Casey

Finch produced the 1973 sessions inside the TK studio operation in Hialeah, with Casey sharing the arrangements. Their working method carried into the 1974 George McCrae album Rock Your Baby.

Drago designed the original package around photography by Larry Warmoth. Warmoth became a recurring TK photographer for the group and returned for Part 3 and Who Do Ya (Love).

TK issued “Blow Your Whistle” in August 1973 (b/w “I’m Going to Do Something Good to You”). “Sound Your Funky Horn” followed in December 1973 (b/w “Why Don’t We Get Together”).

“Queen of Clubs” appeared in September 1974 (b/w “Do It Good”) and reached No. 7 on the UK Singles Chart. TK followed with “I’m a Pushover” in December 1974 (b/w “You Don’t Know”).

The label issued the 1978 repackage Queen of Clubs with new playing-card artwork. Big Break Records restored the original title for an expanded 2012 edition.

KC and the Sunshine Band

KC and the Sunshine Band released their self-titled second album in July 1975 on TK Records.

The debut lineup remains in place around Casey. Finch anchors the principal instrumental group with Smith, Johnson, Brown, and Goytisolo. The horn section retains Faulk, Tanno, Lewis, and Sidener, while Champion, Reynolds, and Williams handle the backing parts. Casey and Finch wrote the album together; Willie Clarke shares credit on “I’m So Crazy (‘Bout You).”

“That’s the Way (I Like It)” sashays through a 16-beat hi-hat figure, compact brass bursts, and close female replies. “Get Down Tonight” careens from a sped-up guitar figure into fast, repeated dance commands. “Boogie Shoes” shuffles through gently swinging sections before a stuttered group phrase caps each turn. “Ain’t Nothin’ Wrong” breezes through midtempo phrasing under punctuating horns. “I Get Lifted” simmers around a strange piano figure and tambourine chatter at reduced speed.

A1. “Let It Go (Part One)” (2:56)
A2. “That’s the Way (I Like It)” (5:07)
A3. “Get Down Tonight” (5:14)
A4. “Boogie Shoes” (2:15)

B1. “Ain’t Nothin’ Wrong” (3:07)
B2. “I’m So Crazy (‘Bout You)” (3:04) – Casey, Finch, Clarke
B3. “What Makes You Happy” (2:49)
B4. “I Get Lifted” (3:04)
B5. “Let It Go (Part Two)” (2:01)

Casey and Finch produced and arranged the 1974–75 recordings at TK Studios in Hialeah, with Finch handling the engineering. Their parallel TK work included further sessions with George McCrae.

Casey and Finch also supplied the sleeve photography, extending their control from the Hialeah sessions to the finished package.

TK issued “Get Down Tonight” in March 1975 (b/w “You Don’t Know”). On the week of August 30, the single reached No. 1 on the Billboard Hot 100, where it ousted “Fallin’ in Love” by Hamilton, Joe Frank & Reynolds. It held the summit for one week before yielding to “Rhinestone Cowboy” by Glen Campbell. “Get Down Tonight” also topped the Hot Soul Singles chart.

“That’s the Way (I Like It)” followed in October 1975 (b/w “What Makes You Happy”). The single reached No. 1 on the Billboard Hot 100 for the week of November 22, ousting “Island Girl” by Elton John. It yielded to “Fly, Robin, Fly” by Silver Convention after one week, then reclaimed the summit on December 20 before “Let’s Do It Again” by the Staple Singers took over. The recording also topped the Hot Soul Singles chart.

The inclusion of “Boogie Shoes” on the 1977 Saturday Night Fever soundtrack prompted a January 1978 single release (b/w “I Get Lifted”). The single reached No. 35 on the Billboard Hot 100.

KC and the Sunshine Band reached No. 4 on the Billboard 200 and No. 1 on the Billboard soul-albums chart. Big Break Records issued an expanded 2012 edition.

The Sound of Sunshine

The Sunshine Band released the third album in the sequence, The Sound of Sunshine, in September 1975 on TK Records.

The Sunshine Band billing shifts the record to an instrumental format while Casey retains keyboards, songwriting, and production. The established rhythm and horn players support the new emphasis, and the group recasts “Rock Your Baby” as an instrumental. Clarence Reid shares credit on “Funky ’75.”

“Shotgun Shuffle” lopes through revolving guitar figures, buoyant brass, and a late group shout. “Rock Your Baby” glides on a midtempo sway as saxophones carry its main contour. “Funky ’75” skips with nimble phrasing and compact instrumental turns. “Miss B. (Theme)” coils through tense, ascending phrases with action-sequence suspense. “Sunshine City” darts through quick, spacious phrases.

A1. “Shotgun Shuffle” (2:45)
A2. “Rock Your Baby” (3:58)
A3. “Funky ’75” (2:55) – Casey, Finch, Reid
A4. “S.O.S.” (3:00)
A5. “Miss B. (Theme)” (3:07)

B1. “Hey J” (2:39)
B2. “Just a Groove” (3:06)
B3. “Sunshine City” (2:16)
B4. “I Love You” (2:36)

Casey and Finch produced the album in the same TK studio cycle as the self-titled release, with Finch directing the engineering from the Hialeah control room.

Larry Warmoth photographed the sleeve, continuing the TK visual sequence established on Do It Good and later extended through Part 3 and Who Do Ya (Love).

The Sunshine Band issued “Shotgun Shuffle” in August 1975 (b/w “Hey J”). An instrumental “Rock Your Baby” followed in January 1976 (b/w “S.O.S.”).

The Sound of Sunshine reached No. 131 on the Billboard 200 and No. 24 on the soul-albums chart.

Part 3

KC and the Sunshine Band released their fourth album, Part 3, in October 1976 on TK Records.

Oliver Brown rejoins the rhythm and percussion group, restoring the principal studio configuration from the self-titled album. The regular backing trio and horn section also return, while Casey and Finch supply all eight songs.

“Baby I Love You (Yes I Do)” breezes through chiming figures and buoyant group replies. “I Like to Do It” skips through handclaps and offbeat accents beneath a laid-back lead. “Shake Your Booty” spins on sustained piano figures as massed replies circle repeated commands. “I’m Your Boogie Man” erupts after a nervous tambourine figure, then locks into a stomping horn riff beneath a forceful lead. “Keep It Comin’ Love” sweeps through ringing guitar figures, high harmonies, and a hopeful lead.

A1. “Baby I Love You (Yes, I Do)” (4:43)
A2. “Wrap Your Arms Around Me” (3:47)
A3. “I Like to Do It” (2:57)
A4. “(Shake, Shake, Shake) Shake Your Booty” (3:06)

B1. “Let’s Go Party” (2:57)
B2. “Come on In” (3:25)
B3. “I’m Your Boogie Man” (4:05)
B4. “Keep It Comin’ Love” (4:23)

Sessions spanned 1975–76 at TK Studios in Hialeah with producers Casey and Finch. Milan Bogdan joined Finch on engineering and remained part of the KC control-room team through the next three studio albums.

Drago Artistic Designs prepared the package, continuing the design role established on Do It Good. Bill Holley joined recurring TK photographer Larry Warmoth for the sleeve images, and the pair returned for Who Do Ya (Love).

TK issued “(Shake, Shake, Shake) Shake Your Booty” in June 1976 (b/w “Boogie Shoes”). On the week of September 11, the single reached No. 1 on the Billboard Hot 100, where it displaced “You Should Be Dancing” by the Bee Gees. It held the summit for one week before yielding to “Play That Funky Music” by Wild Cherry. The recording also topped the Hot Soul Singles chart.

“I Like to Do It” followed in November 1976 (b/w “Come on In”) and reached No. 37 on the Hot 100 and No. 4 on the soul chart.

“I’m Your Boogie Man” appeared in February 1977 (b/w “Wrap Your Arms Around Me”). The single reached No. 1 on the Billboard Hot 100 for the week of June 11, ending the three-week reign of “Sir Duke” by Stevie Wonder. It held the summit for one week before yielding to “Dreams” by Fleetwood Mac. The recording became the group’s fourth Hot 100 chart-topper and reached No. 3 on the soul chart.

TK issued “Keep It Comin’ Love” in July 1977 (b/w “Baby I Love You”). The single held No. 2 on the Billboard Hot 100 for three weeks, blocked first by “Star Wars Theme/Cantina Band” by Meco and then by “You Light Up My Life” by Debby Boone. It reached No. 1 on the Hot Soul Singles chart.

Part 3 reached No. 13 on the Billboard 200 and No. 5 on the soul-albums chart. Rhino issued the expanded 1994 edition Part 3…And More. Big Break Records followed with another expanded 2012 edition.

Who Do Ya (Love)

KC and the Sunshine Band released their fifth album, Who Do Ya (Love), in August 1978 on TK Records.

Finch moves to drums on “It’s the Same Old Song” and “I Will Love You Tomorrow,” while Johnson handles the remaining tracks. Smith and Goytisolo continue in the principal rhythm group, with the established horn players and backing singers supporting the sessions. Casey and Finch wrote seven songs and adapted the Holland–Dozier–Holland composition “It’s the Same Old Song.”

“Come to My Island” drifts through a dreamy island sway.

A1. “Do You Feel All Right” (5:25)
A2. “Sho-Nuff’” (4:18)
A3. “Come to My Island” (4:20)
A4. “So Glad” (4:45)

B1. “It’s the Same Old Song” (4:23) – Holland, Dozier, Holland
B2. “Who Do Ya Love” (3:45)
B3. “How About a Little Love” (2:27)
B4. “I Will Love You Tomorrow” (3:45)

Casey and Finch produced and arranged the album at the TK studio in Hialeah, with Finch continuing as engineer. Their concurrent Sunshine Sound work included the 1978 Jimmy “Bo” Horne album Dance Across the Floor.

Chicago-trained illustrator John Youssi supplied the principal sleeve image. Bill Holley and Larry Warmoth continued the photography partnership established on Part 3.

TK issued “It’s the Same Old Song” in May 1978 (b/w “Let’s Go Party”). The single reached No. 35 on the Billboard Hot 100.

“Do You Feel All Right” followed in August 1978 (b/w “I Will Love You Tomorrow”). “Who Do Ya Love” appeared in December 1978 (b/w “Sho-Nuff’”).

Who Do Ya (Love) reached No. 36 on the Billboard 200 and No. 25 on the soul-albums chart.

Do You Wanna Go Party

KC and the Sunshine Band released their sixth album, Do You Wanna Go Party, in June 1979 on TK Records.

Casey and Finch broaden the arrangements with French horns, harp, and a twelve-player string section. Additional backing singers join the established trio, including Teri DeSario. Frederick Knight and Sam Dees supply “I Betcha Didn’t Know That.”

“Hooked on Your Love” sways through Latin-tinged accents. “Please Don’t Go” slows through restrained strings and harp washes before a late hi-hat shimmy brings a strut. “Do You Wanna Go Party” barrels through an ascending chant and descending answer over a nonstop bass line, frantic horn bursts, and gang replies.

A1. “Hooked on Your Love” (3:55)
A2. “I’ve Got the Feeling” (3:05)
A3. “Ooh, I Like It” (6:06)
A4. “Please Don’t Go” (3:50)

B1. “I Betcha Didn’t Know That” (4:08) – Knight, Dees
B2. “Que Pasa?” (5:10)
B3. “Do You Wanna Go Party” (7:29)

Casey and Finch produced and arranged the album with engineers Finch and Milan Bogdan. Their adjacent work included Casey’s production of the 1979 Teri DeSario album Moonlight Madness and its duet version of “Yes, I’m Ready.”

Gribbitt! directed and designed the sleeve as part of the same visual sequence as Moonlight Madness and the 1980 DeSario package Caught.

TK issued “Do You Wanna Go Party” in May 1979 (b/w “Come to My Island”). The single reached No. 50 on the Billboard Hot 100 and No. 8 on the soul chart.

“Please Don’t Go” followed on July 12, 1979 (b/w “I Betcha Didn’t Know That”). On the week of January 5, 1980, the single reached No. 1 on the Billboard Hot 100, where it displaced “Escape (The Piña Colada Song)” by Rupert Holmes. It held the summit for one week before the Holmes recording reclaimed the position. “Please Don’t Go” became the group’s fifth and final Hot 100 chart-topper. “I Betcha Didn’t Know That” received separate soul-radio play and reached No. 25 on the soul chart.

Do You Wanna Go Party reached No. 50 on the Billboard 200 and No. 19 on the soul-albums chart.

1980–81 Transition

TK issued the 1980 compilation Greatest Hits with two new tracks, “Let’s Go Rock and Roll” and “All I Want.” “Let’s Go Rock and Roll” appeared as a February single (b/w “I’ve Got the Feeling”).

Casey joined Teri DeSario on the December 1979 single “Yes, I’m Ready,” their cover of the 1965 Barbara Mason hit. The duet held No. 2 on the Billboard Hot 100 for two weeks in March 1980, blocked from the summit by “Crazy Little Thing Called Love” by Queen. It also topped the Billboard Adult Contemporary chart for two weeks.

Financial problems at TK disrupted the label operation. Casey moved to Epic Records as his partnership with Finch approached its final recording cycle. The next release appeared under the shortened KC billing.

Space Cadet Solo Flight

KC released the seventh album in the sequence, Space Cadet Solo Flight, in 1981 on TK Records.

Casey replaces the fixed band configuration with a larger studio cast. Several keyboardists and guitarists divide the sessions, while Finch retains bass, drums, percussion, and string-arrangement duties. Mike Lewis handles the horn and string scoring, and outside writers contribute half of the ten-song sequence.

“Space Cadet” launches from synthetic takeoff effects into syncopated motion, brassy punctuation, and quick electronic flashes.

A1. “Space Cadet” (4:10) – Casey, Finch
A2. “Red Light” (4:07) – Casey, Finch
A3. “I Ask Myself” (3:30) – Casey, Finch
A4. “You Keep Me Hangin’ On” (4:30) – Holland, Dozier, Holland
A5. “Make Me a Star” (3:35) – Casey, Bruce Roberts

B1. “I Don’t Wanna Make Love” (3:55) – Marc Gabriele, Madeline Stone, Norman Dolph
B2. “Nothing Sadder Than a Heartache” (3:24) – Gabriele, Stone
B3. “What’s Wrong?” (2:54) – Gabriele, Stone, Dolph
B4. “Only Love” (3:25) – Gabriele, Stone, Dolph
B5. “Holdin’ on So Long” (2:58) – Eddie Sierra, Jim Morgan, Dolph

Casey and Finch produced the sessions, while Finch and Milan Bogdan handled the engineering. Bogdan also mixed the album, extending the Miami partnership that continued through The Painter and All in a Night’s Work. The Detroit-trained engineer had moved to Miami in 1977 to work with the group as a studio and live-sound specialist.

Rob Vaughn directed the sleeve, with photography by Miami commercial and editorial photographer David Vance. Vance opened a Coral Gables studio in 1970 and returned for the 1983 KC Ten cover.

TK issued “Make Me a Star” in August 1980 (b/w “Do Me”). “Space Cadet” followed in April 1981 (b/w “Do Me”), while “I Don’t Wanna Make Love” appeared later that year (b/w “Red Light”).

The Painter

KC and the Sunshine Band released their eighth album, The Painter, in September 1981 on Epic Records.

Casey and Finch rebuild the studio group around multi-instrumentalist Anthony Battaglia, keyboardist Blue Weaver, and drummer Harold Seay. Featured saxophone parts and three string arrangements extend the session format. Outside writers supply most of the material, including “All Through the Night” by Bruce Roberts and Donna Summer.

“Love Me” swells around a falsetto lead and gospel-charged replies before broad accents widen each turn. “It Happens Every Night” climbs from a deep lead into sweeping phrases and large symphonic crests.

A1. “Stand Up” (2:56) – Casey
A2. “Don’t Say No” (4:12) – Casey, Felipe Rodriguez
A3. “It Happens Every Night” (4:21) – Ronald Kalstein
A4. “Go Now (Before There’s Trouble)” (3:02) – John Keller, Geoff Lieb
A5. “The Painter” (3:10) – Casey
A6. “Sway” (2:56) – Dominic Bugatti, Frank Musker

B1. “Summer Nights” (3:18) – Dan Walsh, Michael Price
B2. “Baby, I’m Yours” (3:18) – Van McCoy
B3. “Love Me” (3:24) – Casey, Finch
B4. “All Through the Night” (4:35) – Roberts, Summer
B5. “Something’s Happening” (3:36) – Bugatti, Musker

Casey and Finch produced and mixed The Painter at Sunshine Sound Enterprises in Miami with engineer Milan Bogdan. The album completed the final full production partnership between the two founders, while Bogdan carried the control-room role into the following Epic release.

Veteran Los Angeles music photographer Guy Webster supplied the sleeve portrait. His earlier album-cover work included landmark images for the Doors, the Byrds, the Rolling Stones, and Simon & Garfunkel.

Epic issued “Love Me” in October 1981 (b/w “Don’t Say No”). “It Happens Every Night” followed in November 1981 (b/w “Stand Up”).

All in a Night’s Work

KC and the Sunshine Band released their ninth album, All in a Night’s Work, in August 1982 on Epic Records.

Gary King assumes a broad studio role across keyboards, guitars, bass, and arrangements. Casey and Finch add Los Angeles horn arrangers Larry Hall and Jerry Hey, while Mike Lewis scores “Are You Feeling Like Me.” Teri DeSario shares the lead part on “Don’t Run (Come Back to Me).”

“(You Said) You’d Gimme Some More” fires through a thick, busy pattern marked by sharp accents. “Party With Your Body” claps through buoyant replies beneath a mellow lead. “Don’t Run (Come Back to Me)” glides from a restrained duet into a brief solo turn and firmer final exchange. “When You Dance to the Music” bounces through handclaps and airy phrases. “Are You Feeling Like Me” slows beneath swooping lines and measured chords. “Give It Up” skips from bright, wiry figures into repeated “n-n-n-n-n-now” calls.

A1. “(You Said) You’d Gimme Some More” (7:30) – Casey
A2. “Party with Your Body” (4:00) – Gregory Robinson, Deryl Lampkin
A3. “Give It Up” (4:13) – Casey, Deborah Carter
A4. “Don’t Run (Come Back to Me)” (3:19) – Casey, Joseph Simmel

B1. “You’re Going Out of Your Mind” (3:21) – Casey
B2. “On the One” (3:54) – Casey, Beverly Champion, Jimmy “Bo” Horne
B3. “It’s Too Hard to Say Goodbye” (3:08) – Casey, Hazel King
B4. “Do It” (3:37) – Casey, Robinson, Gary King
B5. “When You Dance to the Music” (3:31) – King, Robinson
B6. “Are You Feeling Like Me” (3:11) – Casey, Evan Steeple

Sessions ran from October 1981 through March 1982 at Sunshine Sound Enterprises in Miami and George Massenburg Studios in Los Angeles. Casey and Finch produced and mixed the album with engineer Milan Bogdan. Los Angeles engineer David Leonard recorded the horn parts after recent work on albums by Chaka Khan (What Cha’ Gonna Do for Me) and Toto (Toto IV), while club-mix specialist John Luongo reshaped the first three tracks.

Nancy Donald designed the package after receiving a 1977 Grammy nomination for the Silk Degrees album package. Album-cover and commercial photographer Bret Lopez supplied the sleeve image.

Epic issued the 1982 single “(You Said) You’d Gimme Some More,” which reached No. 41 on the UK Singles Chart.

“Don’t Run (Come Back to Me)” appeared as a Casey–DeSario duet and reached No. 12 on the Billboard Adult Contemporary chart.

The 1983 overseas release schedule included “Give It Up.” On the week ending August 13, the single reached No. 1 on the UK Singles Chart, displacing “Wherever I Lay My Hat (That’s My Home)” by Paul Young. It held the summit for three weeks before yielding to “Red Red Wine” by UB40.

KC Ten

KC released the tenth album in the sequence, KC Ten, in December 1983 on Meca Records.

Casey retains “Give It Up” from All in a Night’s Work and assembles a revised studio group for the remaining tracks. New keyboard, guitar, bass, drum, and percussion players replace the fixed Sunshine Band configuration. Margaret Reynolds shares the lead part on “Let’s Get Together.”

A1. “Give It Up” (4:03) – Casey, Deborah Carter
A2. “Are You Ready?” (3:03) – Casey, Finch
A3. “On the Top” (3:42) – Casey, Joseph Simmel, Robert Walker
A4. “Don’t Break My Heart” (2:45) – Casey, Hazel King
A5. “Nobody Knows” (3:39) – Casey

B1. “Too High” (2:58) – Casey, Walker
B2. “Don’t Let Go” (4:36) – Casey
B3. “In My World” (3:37) – Casey
B4. “Let’s Get Together” (3:26) – Casey, Phil Rodriguez, Carter
B5. “Thank You (Falettinme Be Mice Elf Agin)” (4:34) – Sylvester Stewart

Casey produced and mixed the album. Finch produced “Give It Up,” while Ron Taylor and Robert Walker directed the nine new tracks. Criteria engineer Steve Kimball handled the principal recording and mix work, and John Luongo’s earlier dance remix carried into the retained version of “Give It Up.”

Veteran album-cover artist Mike McCarty designed the sleeve, adding KC to a client list that included James Brown, Little Richard, Willie Nelson, and the Atlanta Rhythm Section. David Vance returned from Space Cadet Solo Flight for the photography.

Meca issued the 1983 US single “Give It Up,” which reached No. 18 on the Billboard Hot 100 in March 1984 and No. 24 on the dance chart.

The 1984 follow-up “Are You Ready?” reached No. 102 on the Billboard Bubbling Under Hot 100 chart. “On the Top” also appeared as a single.

Casey closed the KC Ten campaign and suspended album work for the remainder of the decade.