The Disco Sweethearts Who Boogied Their Way to Stardom
In the glittering haze of the late 1970s, when disco balls spun like stars in a fever dream, one band emerged to deliver a funky, irresistible groove that had the world dancing in unison. A Taste of Honey, an all-female R&B and disco ensemble from Los Angeles, burst onto the scene with their platinum-selling debut single “Boogie Oogie Oogie” in 1978—a track so infectious it topped the Billboard Hot 100 for three weeks and sold over two million copies. More than just a one-hit wonder, the group blended soulful harmonies, sizzling basslines, and a dash of pop elegance, earning them a Grammy and a lasting place in music history. Formed in 1972 by visionary bassist Janice-Marie Johnson and keyboardist Perry Kibble, A Taste of Honey wasn’t just a band; they were a taste of empowerment, resilience, and unfiltered joy in an era defined by rhythm and release.
The story of A Taste of Honey begins in the sun-soaked streets of Los Angeles, where childhood friends Janice-Marie Johnson and Perry Kibble dreamed big amid the city’s burgeoning music scene. Johnson, a multi-talented force on vocals and bass (and often the band’s primary songwriter), teamed up with Kibble in 1972 to create what would become a trailblazing act. The initial lineup featured guitarist and vocalist Carlita Dorhan, along with drummer Donald Ray Johnson (no relation to Janice-Marie). Early on, the group cycled through drummers and even briefly welcomed singer Greg Walker, who departed in 1975 to join Santana.
By early 1976, Dorhan had left, making way for the soulful addition of vocalist and guitarist Hazel Payne, solidifying the core quartet that would propel them to fame: Johnson, Kibble, Payne, and Donald Ray Johnson. For six grueling years, they honed their craft, gigging relentlessly in LA clubs and embarking on United Service Organizations (USO) tours across Spain, Morocco, Taiwan, Thailand, the Philippines, South Korea, and Japan. These travels not only sharpened their sound—a heady mix of R&B grooves, disco flair, and pop hooks—but also built the unbreakable camaraderie that defined their music. “We were like sisters,” Johnson later reflected, crediting those road-tested bonds for their onstage chemistry.
Their big break came in the late 1970s at a smoky LA nightclub, where producers Fonce and Larry Mizell spotted their raw potential. The Mizells, fresh off hits with acts like The Jackson 5, pitched the band to Capitol Records executive Larkin Arnold. Impressed by their audition, Arnold inked a five-album deal, and the group christened themselves A Taste of Honey after Herb Alpert’s iconic instrumental. From there, the honey started flowing.
1978 marked the explosion. Their self-titled debut album, A Taste of Honey, stormed the charts, peaking at No. 6 on the Billboard 200 and No. 2 on the R&B chart, eventually earning platinum status. At its heart was “Boogie Oogie Oogie,” a disco-funk anthem co-written by Johnson and Kibble. With its pulsating bass, shimmering guitars, and a chorus that demanded movement—”Boogie woogie, woogie!”—the single didn’t just climb; it conquered, hitting No. 1 on the Hot 100, R&B, and Dance charts while cracking the Top 10 internationally in Canada, New Zealand, and the UK.
The momentum carried into 1979 with Another Taste, which spawned the gritty “Do It Good” (No. 13 R&B). But it was 1980s Twice as Sweet that showcased their versatility. By then, the band had slimmed to a duo of Johnson and Payne, yet they delivered magic: the urgent cover of Fontella Bass’s “Rescue Me” (No. 16 R&B) and a stunning, strings-laden rendition of Kyu Sakamoto’s “Sukiyaki” (titled “Do You Really Want to Hurt Me” in some markets, but known stateside as “Sukiyaki”). This ethereal ballad soared to No. 3 on the Hot 100, No. 1 on both R&B and Adult Contemporary charts, proving A Taste of Honey could pivot from sweat-soaked dance floors to heartfelt serenades without missing a beat.
Their final Capitol hurrah, 1982’s Ladies of the Eighties, leaned into sophisticated R&B with the sultry cover “I’ll Try Something New” (No. 9 R&B), a nod to Smokey Robinson and the Miracles. Though their star dimmed as disco’s fever broke in the early ’80s, singles like “We’ve Got the Groove” and “Sayonara” kept the flame alive for loyal fans.
The band’s crowning jewel arrived at the 20th Annual Grammy Awards on February 15, 1979: Best New Artist, beating out stiff competition and cementing their status as disco’s fresh faces. “Boogie Oogie Oogie” snagged platinum certification, as did their debut LP. Years later, in 2008, Johnson was inducted into the Native American Music Association Hall of Fame, honoring her heritage and contributions—a full-circle moment for the trailblazer who fought to retain publishing rights, a rarity for artists then.
By 1983, with Payne departing for stage acting (she later joined The Three Degrees), A Taste of Honey evolved into Johnson’s solo vehicle. Her 1984 album One Taste of Honey closed the Capitol chapter, but the hiatus was brief. In 1996, she revived the band with guitarist Suzanne “Minnie” Thomas. Reunions followed: a 2004 PBS special with Payne, and a jubilant 50th-anniversary celebration in 2022 featuring Johnson at the helm.
Tragedy tempered the triumphs—Kibble passed from heart failure in 1999 at 49, and Thomas in 2015 at 60—but the band’s spirit endures. Donald Ray Johnson turned to blues in Calgary, while Payne’s theater career sparkled internationally. Today, as of 2025, Johnson leads a vibrant iteration of A Taste of Honey, blending originals with covers that echo their ’70s heyday.
What lingers is their audacity: an all-women (mostly) group owning the stage in a male-dominated industry, delivering hits that transcended genres. “Boogie Oogie Oogie” remains a staple in films, ads, and playlists, while “Sukiyaki” tugs at heartstrings with its wistful beauty. A Taste of Honey didn’t just make music; they bottled the era’s exuberance, proving that a little funk, a lot of heart, and unyielding groove can sweeten any soundtrack. As Johnson once said, it was their “lifeline”—and ours too.